Friday, January 18, 2008

The Greatest Rock Songs 200-500

Again, this is from Rolling Stone Magazine, 12/9/2004


• 101 Non-single

Voodoo Child (Slight Return)
The Jimi Hendrix Experience

W Jimi Hendrix
P Chas Chandler
R Oct. '68 on Reprise
AFTER A NIGHT OF PARtying in New York on May 2nd, 1968, Hendrix, drummer Mitch Mitchell, Traffic's Stevie Winwood and Jefferson Airplane's Jack Casady returned to Electric Ladyland studio and cut "Voodoo Chile," a fifteen-minute take on Muddy Waters' "Rolling Stone." Later that day, Hendrix, Mitchell and bassist Noel Redding were being filmed by a TV crew. Hendrix improvised the staggering wah-wah guitar riff for 'Voodoo Child (Slight Return)" on the spot. "It was like, 'OK, boys, look like we're recording,'" Hendrix said. "We weren't thinking about what we were playing."

Appears on: Electric Ladyland (MCA)

• 102 20 weeks: No. 7

Be-Bop-A-Lula
Gene Vincent and His Blue Caps

W Vincent, Bill Davis
P Ken Nelson
R May '56 on Capitol
WITH VINCENT'S ECHOsoaked voice, Cliff Gallup's high-reverb guitar and fifteenyear-old drummer Dickie Harrell's wildcat screams, "BeBop-A-Lula" went to Number Seven in 1956. Vincent signed to Capitol, which had been hunting for an Elvis-type singer. A restless sort, Vincent joined the Navy underage and nearly had his leg amputated after a motorcycle crackup. He reportedly wrote "Be-Bop-A-Lula" with a fellow patient while recuperating at a naval hospital.

Appears on: The Screaming End: The Best of Gene Vincent and His Blue Caps (Razor and Tie)

• 103 2l weeks; No. l

Hot Stuff
Donna Summer

W Pete Beilotte, Harold Faltermeyer, Keith Forsey
P Giorgio Moroder, Bellotte
R April 79 on Casablanca
THE ROLLING STONES' "Miss You" and Rod Stewart's "Da Ya Think I'm Sexy" approached disco from the world of rock, and now Summer and producer Moroder wanted to return the favor. Setting a thumping kick-drum pulse against a raunchy guitar solo from Doobie Brother (and disco hater) Jeff Baxter, they paved the way for subsequent hybrids such as Michael Jackson's "Beat It." For her part, the Queen of Disco snarled with an assertiveness rarely heard on her earlier Euro-disco hits.

Appears on: Bad Girls (Mercury/Chronicles)

• 104 17 weeks: Ho. 8

Living for the City
Stevie Wonder

W Wonder
P Wonder
R August 73 on Tamla
WONDER WENT EPIC with "Living for the City," a bleak sevenminute narrative about the broken dreams of black America. Wonder sings about a boy growing up in the mythical town of Hard Times, Mississippi, surrounded by poverty and racism. When he takes the bus to New York in search of a better life, he gets set up for a drug bust and goes to jail. Wonder filled the song with cinematic dialogue, even recruiting one of the janitors at the recording studio to play the white prison guard who mutters, "Get into that cell, nigger." Public Enemy sampled the line years later on It Takes a Nation of Millions to Hold Us Back.

Appears on: Innervisions (Motown)

• 105 10 weeks; No. 7

The Boxer
Simon and Garfunkel

W Paul Simon
P Roy Halee, Simon, Art Garfunkel
R April '69 on Columbia
ONE OF SIMON AND GARfunkel's most enduring songs, "The Boxer" is about a New York kid who can't find love, a job or a home — just those old whores on Seventh Avenue. "I think I was reading the Bible," Simon said of the song's genesis. "That's where [the line] 'workman's wages' came from." Simon famously performed the song on the first Saturday Night Live after 9/11, as a tribute to New York's resilience.

Appears on: Bridge Over Troubled Water (Columbia)

• 106 Non-single

Mr. Tambourine Man
Bob Dylan

W Dylan
P Tom Wilson
R March '65 on Columbia
INSPIRED BY BRUCE Langhorne — a session guitarist who played on several Dylan records — "Tambourine Man" is the tune that elevated Dylan from folk hero to bona fide star. "[Bruce] was one of those characters.... He had this gigantic tambourine as big as a wagon wheel," Dylan said. "The vision of him playing just stuck in my mind." Written partly during a drug-fueled cross-country trek in 1964, the song was recorded on January 15th, 1965; five days later, based on a demo they'd heard, the Byrds recorded their own version. "Wow, man," said Dylan, "you can even dance to that!"

Appears on: Bringing It All Back Home (Columbia)

• 107 20 weeks; No. 10

Not Fade Away Buddy Holly and the Crickets
W Holly, Norman Petty
P Petty
R Oct. '57 on Brunswick
RECORDED IN CLOVIS, New Mexico, in May 1957, "Not Fade Away" originally appeared as the B side to Holly's hit "Oh, Boy!" The Crickets were no strangers to the Bo Diddley beat — they had already covered Diddley's "Bo Diddley" — but with "Not Fade Away" they made the rhythm their own, thanks to drummer Jerry Allison, who pounded out the beat on a cardboard box. Allison, Holly's best friend, also claims to have written most of the lyrics, though his name never appeared in the songwriting credits. In 1964, "Not Fade Away" became the first song the Rolling Stones ever released in the U.S.

Appears on: Greatest Hits (MCA)

• 108 22 weeks; No. 6

Little Red Corvette
Prince

W Prince
P Prince
R March '83 on Warner
ONE WEEK IN 1982, Prince had a twentyfour-track studio installed in his basement; by 6 p.M. the day after it was set up, he had recorded "Little Red Corvette." The song — an almost perfect erotic fusion of rock and funk that builds slowly until Prince explodes into a guitar solo — ended up being his first Top Ten hit. Fittingly, he wrote the overtly sexual lyrics in the back seat of a car but not a red Corvette: It was a bright-pink Ford Edsel belonging to Revolution keyboardist Lisa Coleman.

Appears on: 1999 (Warner Bros.)

• 109 16 weeks; No. 10

Brown Eyed Girl
Van Morrison

W Morrison
P Bert Berns
R June '67 on Bang
THE CHEERY "SHA-LAla" chorus of "Brown Eyed Girl" brought Morrison to the top of the pop charts. And he hated that. "It put me in some of the worst joints I ever worked," he told ROLLING STONE in 1970. "It just put me in some awkward positions. Like lip-syncing to the record on a television show. I can't lip-Sync." Morrison turned his back on mainstream pop success: His next album, the masterful Astral Weeks, was a deeply personal acoustic song cycle that sold practically nothing.

Appears on: Blowin' Your Mind (Sony)

• 110 11 Weeks; No. 2l

I've Been Loving You Too Long [to Stop Now)
Otis Redding

W Jerry Butler, Redding
P Jim Stewart, Steve Cropper
R April '65 on Volt
REDDING AND SOUL balladeer "Iceman" Butler were hanging out in Reading's hotel room in Buffalo, New York, after a gig when Butler sang a half-finished song he had been working on. "Hey, man, that's a smash," Redding said. "Let me go mess around with it. Maybe I'll come up with something." Sure enough, "I've Been Loving You Too Long" became Redding's first Top Forty hit, in June 1965. And when Redding performed a scorching drawn-out version at the Monterey Pop Festival in 1967, the single made the transition from hit to legend.

Appears on: otis Blue: Otis Redding Sings Soul (Atco)

• 111 Did not chart

I'm So Lonesome I Could Cry Hank Williams
W Williams
P Fred Rose
R Nov. '49 on Sterling
THIS TRACK — A VISION of lonesome Americana over a steady beat — was Williams' favorite out of all the songs he wrote. But he worried that the lyrics about weeping robins and falling stars were too artsy for his rural audience, which might explain why the track was relegated to the B side of "My Bucket's Got a Hole in It." As a result, "Lonesome" never caught much attention, but after Williams' death it came to symbolize his whiskey-soaked life, and artists such as NVillie Nelson resurrected it, setting the mood for much of the country music that followed.

Appears on: The Ultimate Collection (Universal)

• 112 Did not chart

That's All Right
Elvis Presley

W Arthur Crudup
P Sam Phillips
R Aug. '54 on Sun
PRESLEY WAS HALFWAY into his first recording session, with Sun Records' Phillips, when Presley pulled out "Big Boy" Crudup's 1946 blues obscurity "That's All Right," and the world changed. Recorded in a shockingly fast, lusty new style, the single was the place where race A and hillbilly music collided and became rock & roll. Presley would cover two more Crudup tunes: Recalled Presley, "I said if I ever got to the place where I could feel all old Arthur felt, I'd be a music man like nobody ever saw."

Appears on: Sunrise (RCA)

• 113 20 weeks; No. 5

Up on the Roof
The Drifters

W Gerry Coffin, Carole King
P Jerry Leiber, Mike Stoller
R Nov. '62 on Atlantic
"UP ON THE ROOF" — A breezy summertime song for city dwellers whose only getaways were the tar beaches at the top of their buildings — was written by the husband-and-wife team of Coffin and King, rising stars on New York's Tin Pan Alley scene who also penned the Drifters' "Some Kind of Wonderful." It was sung by Rudy Lewis, the third in the Drifters' cavalcade of great lead voices; in 1970, King reclaimed the song as a recording artist with a wistful, downtempo version.

Appears on: The Very Best of the Drifters (Rhino)

• 114 13 weeks: No. 3

Da Doo Ron Ron (When He Walked Me Home]
The Crystals

W Jeff Berry, Elite Greenwich, Phil Specter
P Spector
R April '63 on Philles
PRODUCER SPECTOR originally had singer Darlene Love record this teen-crush gem at Gold Star studios in Los Angeles. Unsatisfied with the result, he flew the Crystals' La La Brooks in from New York, who turned in the muscular lead vocal that became the definitive version. Backing up the deliciously childish refrain (the line "da doo ron ron" was nothing more than space filler that was never replaced) was lavish orchestration — including cello, oboe and sleigh bells — a perfect example of what Spector called "little symphonies for the kids."

Appears on: The Best of the Crystals (ABKCO)

• 115 26 weeks: No. l

You Send Me Sam Cooke
W Cooke
P Richard "Bumps" Blackwell
R Oct. '57 on Keen
THE PLAN WAS TO remake gospel star Cooke as a secular singer. But Specialty Records owner Art Rupe objected so strongly to Blackwell's use of white female backing vocalists for a session — Rupe thought that Cooke was watering his sound down too much — that he released Cooke from his contract. The major-label scouts were confused by the record, too, thinking it was too soft for R&B but too gritty for the pop charts. Then Blackwell took the tapes to Keen Records' Bob Keane, who had signed Ritchie Valens and who smelled another winner. "I said, 'Screw the black market,' " Keane said. " 'This is a pop record, daddy-o!'"

Appears on: Greatest Hits (RCA)

• 116 15 weeks; No. 1

Honky Tonk Women
The Rolling Stones

W Mick Jagger, Keith Richards
P Jimmy Miller
R July '69 on London
JAGGER AND RICHARDS came up with "Honky Tonk Women" on a South American vacation, using their paramours, Marianne Faithfull and Anita Pallenberg, as sounding boards. Returning to the studio in May 1969 with pure-rock lyrics such as "I met a gin-soaked barroom queen in Memphis," the Stones recorded it in five hours. "Honky Tonk" marked the debut of Mick Taylor, who overdubbed in a guitar part; producer Jimmy Miller added some crucial cow bell, which shaped the song's strip-club bump and grind.

Appears on: Let It Bleed (ABKCO)

• 117 Non-single

Take Me to the River
Al Green

BS Green, Mabon Hodges
P Willie Mitchell
R Nov. 74 on Hi
AL GREEN AND HI Records house guitarist Mabon "Teenie" Hodges wrote "Take Me to the River" not by a river but by a lake: They holed up in a rented house at Lake Hamilton in Hot Springs, Arkansas, for three days in 1973 to come up with new material. "I was trying to get more stability in my life at the time," Green said. "I wrote, 'Take me to the river/Wash me down/ Cleanse my soul.'" When it became the first Top Forty hit for Talking Heads in late 1978, "River" gained a whole new audience.

Appears on: AI Green Explores Your Mind (The Right Stuff)

• 118 11 weeks; No. 47

Shout [Parts 1 and 2]
The Isley Brothers

W Rudolph Isley, Ronald Isley, O'Kelly Isley
P Hugo Peretti, Lulgi Creatore
R Sept. '59 on RCA
THE FIVE-MINUTElong workout "Shout" was a modest hit upon its original release in 1959, but it's perhaps better remembered for its appearance in the 1978 movie Animal House, where the fictional Otis Day and the Knights (with Robert Cray on bass) played an almost note-for-note copy of the Isley original. As O'Kelly Isley, who helped found the group in the mid-Fifties, noted, the world was just coming around to the Isley Brothers' original sound. "People have been playin' our music in bars and discotheques for years," he told ROLLING STONE in 1975, " 'cause it's danceable, man."

Appears on: The Isley Brothers Story, Vol. 1: Rockin' Soul (Rhino)

• 119 15 weeks; No. 10

Go Your Own Way Fleatwood Mac
W Lindsey Buckingham
P Fleetwood Mac, Richard Dashut, Ken Caillat
R Jan. 77 on Warner Bros.
QUINTESSENTIAL FLEETwood Mac: "I very much resented him telling the world that 'packing up, shacking up' with different men was all I wanted to do," said Stevie Nicks of this Buckingham kiss-off.

Appears on: Rumours (Warner Bros.)

• 120 19 weeks; No. l

I Want You Back
The Jackson 5

W Freddie Perren, Fonce Mizell, Deke Richards, Berry Cordy Jr.
P Perren, Mizell, Richards, Gordy
R Nov. '69 on Motown
"I WANT YOU Back" was the song that introduced Motown to the futuristic funk beat of Sly Stone and James Brown. It also introduced the world to an eleven-year-old Indiana kid named Michael Jackson. The five dancing Jackson brothers became stars overnight, as Michael yelped his lead vocals with boyish fervor. "I Want You Back" remains one of hip-hop's favorite beats, sampled everywhere from Kris Kross' "Jump" to Jay-Z's "Izzo (H.O.VA.)."

Appears on: The Ultimate Collection (Motown)

• 121 14 weeks; No. 4

Stand By Me Ben E. King

W King, Elmo click, Jerry Leiber, Mike Stoller
P Leiber, stoller
R April '61 on Atco
KING "WROTE "STAND By Me" when he was still the lead singer of the Drifters — but the group didn't want it.

As King recalled, the Drifters' manager told him, "Not a bad song, but we don't need it." But after King went solo, he revived "Stand By Me" at the end of a session with Leiber. "I showed him the song," King said. "Did it on piano a little bit. He called the musicians back into the studio, and we went ahead and recorded it." "Stand By Me" has been a classic ever since.

Appears on: The Very Best of Ben E. King (Rhino)

• 122 11 weeks; No. 1

House of the Rising Sun
The Animals

W Alan Price
P Mickie Most
R July '64 on MGM
"WE WERE LOOKING FOR a song that would grab people's attention," said Animals singer Eric Surdon. They found it with the old U.S. folk ballad "House of the Rising Sun." On his 1962 debut album, Bob Dylan had sung this grim tale of a Southern girl trapped in a New Orleans whorehouse. The Animals, from the tough English coal town of Newcastle, changed the gender in the lyrics and added an organ solo inspired by jazzman Jimmy Smith's hit "Walk on the Wild Side."

Appears on: The Best of the Animals (ABKCO)

• 123 9 weeks; No. 8

It's a Man's Man's Man's World
James Brown

W Brown, Betty Jean Newsome
P Brown
R April '66 on King
BROWN HAD BEEN TINkering with the building blocks to this song for years — his singer Tammy Montgomery (later Tammi Terrell) had recorded the soundalike "I Cried" in 1963 — but Brown's recording of "Man's World" (a play on the 1963 comedy It's a Mad, Mad, Mad, Mad "World) was a stunningly dramatic record. Amid swooping strings, Brown's abject singing makes the almost biblically chauvinistic lyrics sound genuinely humane.

Appears on: 50th Anniversary Collection (UTV/Polydor)

• 124 1? weeks; No. 3

Jumpin' Jack Flash
The Rolling Stones

W Mick Jagger, Keith Richard
P jimmy Miller
R May '68 on London
RICHARDS WAS ON historic run in 1968 exploring the open-D blues-guitar tuning for the first time and coming up with some of his most dynamic riffs. He heard an organ lick that bassist Bill Wyman was fooling around with in a London studio and turner. it into the unstoppable riff of "Jumpin' Jack Flash." The lyric was inspired by Richards' gardener, Jack Dyer, who slogged past as the guitarist and Jagger were finishing an all-night session. "Who's that?" Jagger asked. "Jumpin' Jack," Richards answered. The song evolved into supernatural Delta blues by way of Swinging London.

Appears on: Forty Licks (virgin)

No. 125
Will You Love Me Tomorrow
The Shirelles

19 weeks; No. 1

W Gerry Goffin, Carole King
R Luther Dixon a Nov. '60 on Scepter
AFTER A FEW MINOR SHIRELLES HITS, SCEPTER Records founder Florence Greenberg asked King and Coffin to write the group a song. On the piano in Greenberg's office, King finished a song the team had been working on: "Will You Love Me Tomorrow." "I remember giving her baby a bottle while Carole was writing the song," Green' berg said. Lead singer Shirley Owens initially found the song too countryish for the group, but Dixon's production changed her mind and made it the first Number One for a girl group.

Appears on: Girl Group Greats (Rhino)

• 126 Predates pop charts

Shake, Rattle & Roll
Big Joe Turner

W Charles Calhoun
P Ahmet Ertegun, Jerry Wexler
R April '54 on Atlantic
ATLANTIC RECORDS' contribution to the birth of rock & roll (Wexler and Ertegun even sang backup), "Shake, Rattle & Roll" was written specifically for big-voiced blues singer Turner, one of the label's early stars. Turner had been partying up the blues for decades. "Everybody was singing slow blues when I was young, and I thought I'd put a beat to it and sing it up-tempo," he once said. This track, with its big bounce and raunchy lyrics ("I'm like a one-eyed cat peepin' in a seafood store"), topped the R&B charts; typical of the times, a semi-sanitized cover by Bill Haley and the Comets got white America bopping.

Appears on: The Very Best of Big Joe Turner (Rhino)

• 127 11 weeks; No. 41

Changes
David Bowie

W Bowie
P Ken Scott
R Dec. '7l on RCA
THE KEYNOTE FROM Bowie's Hunky Dory, this song challenged rock audiences to "turn and face the strange." But it originally stalled on the charts on both sides of the Atlantic, and it didn't really take off until after the commercial success of Ziggy Stardust, when Bowie fans adopted it as the theme song for the man who'd already given them Hippie Bowie, Mod Bowie and Bluesy Bowie. As it turned out, he had barely begun to show the world his wardrobe of disguises. The poignant sax solo at the end is played by Bowie himself.

Appears on: Hanky Dory (virgin)

• 128 19 weeks; No. 8

Rock & Roll Music
Chuck Berry

W Berry
P Phil and Leonard Chess
R Sept. '57 on Chess
THIS WAS A MANIFESTO. "I was heavy into rock & roll and had to create something that hit the spot without question," Berry wrote in his autobiography. "I wanted the lyrics to define every aspect of its being." Set to a jolting rumba rhythm, "Rock & Roll Music" features Berry's genre-defining guitar licks and bass work from the legendary Willie Dixon. Berry's original made the Top Ten, and the Beatles and the Beach Boys cut popular versions as well. For years it was this simple: If you played rock & roll, you knew this song.

Appears on: The Anthology (Chess;

• 129 13 weeks; no. 2

Born to Be Wild
Steppenwolf

W Mars Bonfire
P Gabriel Mekler
R Jan. '68 on Dunhill
THE FIRST TWO SINGLES from Steppenwolfs debut stiffed: the third was "Born to Be Wild." It hit Number Two in the summer of 68, a year before Dennis Hopper used it in a rough cut of Easy Rider, where it was originally just a place holder — Peter Fonda had asked Crosby, Stills and Nash to do the soundtrack. But "Born to be Wild" stayed. "Every generation thinks they're born to be wild," said frontman John Kay, "and they can identify with that song as their anthem." The line "Heavy-metal thunder" would help give a new genre its name.

Appears on: Steppenwolf (MCA)

• 130 17 weeks: No. l

Maggie May
Rod Stewart

W Stewart, Martin Quittenton
P Stewart
R June '71 on Mercury
STEWART PLAYS A schoolboy in love with an older temptress in "Maggie May," trying desperately to subdue his hormones with common sense. The song was a last-minute addition to the LP Every Picture Tells a Story and was initially the B side of "Reason to Believe." Stewart has joked that if a DJ hadn't flipped the single over, he'd have gone back to his old job: digging graves. But the song's rustic country mandolin and acoustic guitars — and Mickey Waller's simple but relentless drum-bashing — were undeniable.

Appears on: Every Picture Tells a Story (Mercury/Universal)

• 131 18 weeks; No. 1

With or Without You
U2

W Bono, the Edge, Adam Clayton, Larry Mullen Jr.
P Brian Eno, Daniel Lanois
R March '87 on Island
"THE JOSHUA THEE" was U2's ode to America: Its songs were inspired by folk, gospel and roots music, and its lyrics, as the Edge noted, were sparked by civil-rights heroes and the "new journalism" of the 1960s. Yet "With or Without You" — with its simple bass groove and ethereal guitar hum framing Bono's yearning vocals — was one of U2's most universal songs to date, a meditation on the painful ambivalence of a love affair. Bono insisted it was "about how I feel in U2 at times: exposed." Appears on: The Joshua Tree (Island)

• 132 Did not chart

Who Do You Love?
Bo Diddle?

W Ellas McDaniel
P Phil and Leonard Chess
R March '57 on Checker
"I'M A LOVER OF BASIC bottom," Diddley once said. "I don't like a lot of keenin', screamin' guitars. If the bottom is right, craay." And there's plenty of bottom here — not much more, actually. Just Diddley playing his guitar like it's a drum, with his trademark rhythm, goosed by maracas and lyrics about chimneys made from human skulls and houses built from rattlesnake hide that reach back into voodoo mythology (the title is a pun on "hoodoo," a bad-luck charm).

Appears on: His Best: The Chess 50th Anniversary Collection (Chess)

• 133 13 weeks; No. 15

Won't Get Fooled Again
The Who

W Pete Townshend
P Glyn Johns, the who
R July 71 on Decca
TOWNSHEND WROTE this futuristic fistpumper for an aborted concept album and film called Lifehouse. But many of that project's songs were resurrected for Who's Next, which started off with a week of demo sessions at Mickjagger's country house, Stargroves. The synthesizer on "Won't Get Fooled Again" is from those demos. "Pete came up with sounds, synthesizer basics, for tracks which were just unbeiievable," said producer Johns. "Nobody had done it before in that way." "It's interesting it's been taken up in an anthemic sense," Townshend said of the song, "when in fact it's such a cautionary piece."

Appears on: Who's Next (MCA)

• 134 12 weeks; No. 27

In the Midnight Hour
Wilson Pickett

W Pickett, Steve Cropper
P Jerry Wexler, Jim Stewart
R July '65 on Atlantic
PICKETT'S FIRST TWO singles for Atlantic were recorded in New York, and they flopped. "I told Jerry Wexler I didn't want to be recorded this way anymore," Pickett said. "I said I heard a song by Otis Redding out of Memphis, and that's the direction I wanted to take." Pickett was soon in Memphis with Booker T. and the MG's cutting "In the Midnight Hour" when an idea shot Wexler out of his seat. "I was shaking my booty to a groove made popular by the Larks' 'The Jerk,' a midSixties hit," wrote Wexler. "The idea was to push the second beat while holding back the fourth." And a soul classic was born.

Appears on: The Very Best of Wilson Pickett (Rhino)

• 135 Non-single

While My Guitar Gently Weeps
The Beatles W George Harrison P George Martin R Nov. '68 on Apple

ONE OF HARRISON'S greatest songs was conceived during a visit to his parents' home. Having studied the Chinese fortune-telling book known as the I Ching, Harrison decided he should surrender to chance. "I picked up a book at random, opened it, saw 'gently weeps,' then laid the book down again and started the song," he said. Dissatisfied with the Beatles' recording of the song, he invited Eric Clapton to play the guitar solo. "It was good because that then made everyone act better," Harrison recalled. "Paul got on the piano and played a nice intro, and they all took it more seriously."

Appears on: The Beatles (Capitol)

• 136 14 weeks; No. 8

Your Song
Elton John

W Bernie Taupcn, John
P GUS Dudgeon
R Nov. '70 on Uni
THIS SOARING PIANO ballad introduced John to America. Although he insisted that the song was inspired by an old girlfriend of Taupin's, the lyricist maintains that it was aimed at no one in particular.

Appears on: Greatest Hits (Island)

• 137 8 Weeks; No. 11

Eleanor Rigby
The Beatles

W John Lennon, Paul McCartney
P George Martin
R Aug. '66 on Capitol
ONE OF SEVERAL MES' meriting art songs that Paul McCartney wrote for Revolver. When he first played the song for neighbor Donovan, the words were "Ola Na Tungee/ Blowing his mind in the dark/With a pipe full of clay." McCartney fumbled around with the lyrics until he landed on the line "Picks up the rice in a church where a wedding has been." It was only then that he realized he was writing about the loneliness of old age. The character sketch was fleshed out by the Beatles' vocals, but the backing music was the sole product of an eightman string section, working from a George Martin score.

Appears on: Revolver (Capitol)

• 138 14 weeks; No. 1

Family Affair
Sly and the Family Stone

W Sylvester Stewart (Sly Stone)
P stone
R Oct. '71 on Epic
WHEN "THERE'S A RIOT Goin' On" came out in 1971, a ROLLING STONE reporter mentioned the rumor that Sly Stone had played all the instruments himself, and he asked Sly just how much he played. "I've forgotten, man," Stone said. "Whatever was left." The leadoff single, the aquatic funk number "Family Affair," was widely considered to be about his relationships with his band, family and the Black Panthers. "Well, I'll tell ya," Stone said, "they may be trying to tear me apart; I don't feel it. Song's not about that. Song's about a family affair, whether it's a result of genetic processes or a situation in the environment."

Appears on: There's a Riot Goin' On (Sony)

• 139 11 weeks; No. 14

I Saw Her Standing There
The Beatles

W John Lennon, Paul McCartney
P George Martin
R Jan. '64 on Capitol
"ONE, TWO, THREE, fah!" The B side to the band's American breakthrough single, "I Want to Hold Your Hand," had been written by McCartney two years earlier, just after the group had sealed a record contract. After penning the first line — "She was just seventeen" — McCartney wanted to avoid completing the rhyme with "beauty queen." He and Lennon had "started to realize that we had to stop at these bad lines or we were only going to write bad songs," he said. "So we went through the alphabet: between, clean, lean, mean." With "you know what I mean," he was on his way.

Appears on: Please Please Me (Capitol)

• 140 Non-single

Kashmir
Led Zeppelin

W John Bonham, Jimmy Page, Robert Plant
P Page
R March '75 on Swan Song
WHILE VACATIONING IN southern Morocco, Plant conjured the lyrics for Led Zeppelin's most ambitious experiment, the centerpiece of 1975's Physical Graffiti. As he traveled the desert in northwest Africa, Plant envisioned himself driving straight through to Kashmir. Mean-while, back in the band's studio in rural England, Page and Bonham began riffing on an Arabic-sounding set of chords that would perfectly match Plant's desert vision. John Paul Jones' string arrangement provided the crowning touch, ratcheting up the song's mystic grandeur to stadiumrock proportion.

Appears on: Physical Graffiti (Atlantic)

• 141 11 weeks; Nov. 21

All I Have to Do Is Dream
The Everly Brothers

W Boudleaux and Felice Bryant
P Archie Bleyer
R May '58 on Cadence
ALTHOUGH DON EVERLY had a contract to work as a songwriter before he and his brother Phil began their hitmaking, their first three big singles were all written by the husband-and-wife team of Boudleaux and Felice Bryant. "I would go to them for lovelorn advice when I was young and divorce advice when I was older," Phil said. "All I Have to Do Is Dream," with Chet Atkins' innovative tremolo chording backing the brothers' high-lone-some harmonies, went to Number One on not just the pop chart but the R&B chart as well.

Appears on: All-Time Original Hits (Rhino)

• 142 2 weeks; No. 95

Please, Please, Please
James Brown and His Famous Flames

W Brown, Johnny Terry
P Ralph Bass
R Feb. '56 on Federal
ON PAROLE AFTER THREE years in a Georgia juvenile pen, Brown hooked up with vocal group the Famous Flames for his debut single: a screaming, pleading burst of R&B. It caught the ear of talent scout Bass, who got the group signed to King/Federal Records, despite label head Syd Nathan's opinion that the song was "a piece of shit." Kicking off with Brown's solo shriek, the single drove women wild, but the original Flames, feeling upstaged, quit the group a year later.

Appears on: 50th Anniversary Collection (UTV/Polydor)

• 143 16 weeks; No. 2

Purple Rain
Prince and the Revolution

W Prince
P Prince
R June '84 on Warner Bros.
BOBBY Z OF THE REVOlution recalled the first time he heard Prince play "Purple Rain": "It was almost country. It was almost rock. It was almost gospel." The basic tracks were recorded live at a 1983 club date in Minneapolis, benefiting the Minnesota Dance Theater. But the seeds came from Prince's 1999 tour — Bob Seger was touring at the same time, and Prince decided to try writing a song in the same anthemic vein.

Appears on: Purple Rain (Warner Bros.)

• 144 Did not chart

I Wanna Be Sedated
Ramones

W Ramones
P Tommy Erdelyi, Ed Stasium
R Oct. '78 on Sire
THE GREATEST GODdoes-the-road-ever-steck song, "I Wanna Be Sedated" was written by Joey Ramone, who at the time was suffering from severe teakettle burns and had to fly to London for a gig. Plagued by obsessive-compulsive disorder and various other ailments, Joey always had a rough time touring. "Put me in a wheelchair / And get me to the show/Hurry hurry hurry/Before I go loco!" he rants. The sound is equally pissedoff: Johnny's guitar solo — the same note, sixty-five times in a row — is the ultimate expression of his antiartifice philosophy; the bubblegum-pop key change that follows it, though, is pure Joey.

Appears on: Road to Ruin (Rhino)

• 145 19 weeks: No. l

Everyday People
Sly and the Family Stone

W Sylvester Stewart (Sly Stone)
P Stone
R Nov. '68 on Epic
"EVERYDAY PEOPLE" was released as a single shortly before it appeared on Sly and the Family Stone's fourth LP, Stand!, which explored everything from hot funk to cool pop. Stone, a former DJ in San Francisco who also produced the hits "Laugh, Laugh" and "Just a Little" for the white pop group the Beau Brummels, seemed blind to the lines between musical genres. "I was into everyone's records," he said of his radio days. "I'd play Dylan, Hendrix, James Brown back to back, so I didn't get stuck in any one groove." "Everyday People" became Sly's first Number One. "What I write is people's music," Stone said.

Appears on: Stand! (Sony)

• 146 8 weeks; No. 56

Rock Lobster
The B-52's

W Fred Schneider, Ricky Wilson
P Chris Blackwell
R July 79 on Warner Bros.
A SELF-DESCRIBED "quirky little dance band" from Athens, Georgia, the 8-52's set the stage for New Wave weirdness with this slice of bouffant pop topped with Farfisa organ, Yoko Ono-ish backing vocals and Schneider's creepy speak-singing about a bizarro seaside scene. "I was at this disco that showed pictures of lobsters and children playing ball," he said. "'Rock Lobster' sounded like a good title for a song."

Appears on: The B-52's (Warner Bros.)

• 147 Did not charte

Lust for Life
Iggy Pop

W David Sowie, Pop
P Bowie
R Sept. '77 on RCA
WITH ITS ENORMOUS kaboom and Pop's sneering, free-associative lyrics (the line about "hypnotizing chickens" is a reference to William S. Burroughs' The Ticket That Exploded), "Lust for Life" is half a kiss-off to drugged-out hedonism, half a French kiss to it. Nineteen years after the song first appeared, it was used in the 1996 movie Trainspotting, paving the way for cleaned-up versions to be used in TV ads for cars and cruise lines. And what about the line "Of course I've had it in the ear before"? "That's a common expression in the Midwest," Pop said. "To give it to him right in the ear means to fuck somebody over."

Appears on: Lust for Life (Virgin)

• 148 15 weeks: No. l

Me and Bobby McGee
Janis Joplin

W Kris Kristofferson, Fred Foster
P Paul Rothchild
R Jan. '71 on Columbia
JOPLIN'S ONLY NUMBER One hit was a posthumous one, and a country, not a blues, song. "Me and Bobby McGee" came from her drinking buddy and occasional crush Kris Kristofferson, but she gave the song its definitive interpretation. (It had already been recorded by "King of the Road" singer Roger Miller.) Joplin's version was "just the tip of the iceberg, showing a whole untapped source of Texas, country and blues that she had at her fingertips," recalled pianist Richard Bell. It was a standout from Pearl, her last solo album, released less than a year after she died of a heroin overdose.

Appears on: Pearl (Sony/Legacy)

• 149 17 weeks: No. 1

Cathy's Clown
The Everly Brothers

W Phil and Don Everly
P Wesley Rose
R April '60 on Warner Bros.
AFTER SEVEN TOP-TEN hits for Cadence Records, the Everlys became the first artists on a new label: Warner Bros. They cut eight songs as potential debut singles and rejected all eight before "Cathy's Clown."

Appears on: All-Time Original Hits (Rhino)

No. 150
Eight Miles High
The Byrds

9 weeks; No. 14

W Gene Clark, Roger McGuinn, David Crosby
P Allen Stanton
R April '66 on Columbia
A RARE COLLABORAtion between three Byrds, it was supposedly about an airplane flight. McGuinn's mind-blowing twelve-string solo was inspired by John Coltrane's sax-playing and Rod Argent's piano on the Zombies' "She's Not There." "Of course it was a drug song," Crosby said. "We were stoned when we wrote it. We can also justifiably say that it wasn't a drug song, because it was written about the [plane] trip to London."

Appears on: Fifth Dimension (Legacy)

• 151 15 weeks; no. 8

Earth Angel
The Penguins

W Jesse Belvin, Curtis Williams
P Dootsie Williams
R Dec. '54 on Dootone
CRUDELY RECORDED IN A garage and released on a small label, "Earth Angel" turned out to be a pivotal record in rock & roll's early development. The artless, unaffected vocals of the Penguins, four black high schoolers from L.A., defined the streetcorner elegance of doowop. The Penguins' version also outsold a sanitized, big-label cover by schmaltzy white group the Crew-Cuts.

Appears on: Earth Angel (Ace)

• 152 4 weeks; No. 67

Foxey Lady
The Jimi Hendrix Experience

W Hendrix
P Chas Chandler
R Aug. '65 on Reprise
AN UNATTAINABLE FEmale — said to be the future wife of the Who's Roger Daltrey — inspired this lip-smacking ode as Hendrix was gathering songs in London for his 1967 debut LP, Are You Experienced' Hendrix scrapes his pick down a string, literally making it tremble with anticipation, before exploding into an indelibly dirty riff. "I'm comin' to getcha." he promises — and he did.

Appears on: Are you Experienced? (MCA)

• 153 13 weeks; No. l

A Hard Day's Night
The Beatles

W John Lennon, Paul McCartney
P George Martin
R July '64 on Capitol
THE TITLE COMES FROM a Ringo Starr malapropism, the product of an all-day and -night recording session. Lennon was fond of these Ringoisms — which also included "tomorrow never knows" — and wrote the title track overnight, but he shared lead vocals with McCartney. Said Lennon, "The only reason he sang on 'Hard Day's Night' was because I couldn't reach the notes."

Appears on: A Hard Day's Night Capitol)

• 154 10 weeks; No. 37

Rave On
Buddy Holly and the Crickets

W Sonny West, Bill Tilghman, Norman Petty
P Petty
R April '58 on Coral
WEST RECORDED his own version of "Rave On" at the New Mexico studio where Holly laid down most of his hits. Petty wanted to give it to another band, but Holly said, "No way. I've got to have this song." He cut the track in January 1958.

Appears on: Buddy Holly: Greatest Hits (MCA)

• 155 14 weeks; No. 2

Proud Mary
Creedence Clearwater Revival

W John Fogerty
P Fogerty
R Jan. '69 on Fantasy
"IT WAS, LIKE, THE FIRST really good song I ever wrote," Fogerty said of "Proud Mary." He wrote it after his Army discharge: "I was fooling with the chord changes and started singing about the river. I realized, 'Well, maybe if I make it about the boat.'"

Appears on: Bacou Country (Fantasy)

• 156 14 weeks; No. 1

The Sounds of Silence
Simon and Garfunkel

W Paul Simon
P Tom Wilson
R Nov. '65 on Columbia
SIMON WROTE THIS AS an acoustic ballad, but Simon and Garfunkel's first single version died. While Simon was in Eng' land, Wilson, who was producing Bob Dylan's "Like a Rolling Stone," asked members of Dylan's studio band to add electric guitar and drums to Simon's song. Columbia released the amplified "Silence," which becamea hit before Simon and Garfunkel had even heard it.

Appears on: Sounds of Silence (Columbia)

• 157 13 weeks; No. 11

I Only Have Eyes for You
The Flamingos

W Harry Warren
P George Goldner
R April '59 on End
DUBBED "THF. SULTANS of Smooth," this Chicago quintet honed its harmonies singing in a black Jewish church choir. One of the greatest vocal groups of the doo-wop era, it's best known for" I Only Have Eyes for You," originally a hit for crooner Ben Selvin in 1934. The Flamingos take the song all the way to Venus with elegant vocalizations and the otherworldly cloo-bop-.sh-bop.

Appears on: The Best of the Flamingos (Rhino)

• 158 24 weeks; No. 1

[We're Gonna] Rock Around the Clock
Bill Haley and His Comets

W Jimmy DeKnight, Max Freedman
P Milt Gabler
R May '54 on Decca
HALEY STARTED as a country yodeler but converted to rock & roll when he saw how it moved his audiences.

"Rock" was a modest success until it played during the opening credits of The Blackboard Jungle and shot to Number One.

Appears on: The Best of Bill Haleyand His Comets (MCA)

• 159 Non-single

I'm Waiting for the Man
8

The Velvet Underground

W Lou Reed
P Andy Warhol, Tom Wilson
R March '67 on Verve
THE VELVETS MARRIED R&B rhythmguitar workouts and blues-piano stomp to dreamy art drones and a story about scoring twenty-six dollars' worth of heroin in Harlem. "Everything about that song holds true," said Reed, "except the price."

Appears on: the Velvet Underground and Nico (Polygram)

• 160 Did not chart

Bring the Noise
Public Enemy

W Carlton Ridenhour, Eric Sadler, Hank Shocklee
P Rick Rubin, Carl Ryder
R April '88 on Def Jam
"WE WERE THE FIRST rap group to really tempo it up," Chuck D said of this single. Over the Bomb Squad's souped-up horn riffs from Marva Whitney's "It's My Thing," PE showed how far-reaching its sound and political ambitions were, namechecking everyone from Yoko Ono and Anthrax (who later remade the song with Chuck D) to Louis Farrakhan.

Appears on: It Takes a Nation of Millions to Hold Us Back (Del lam)

• 161 18 weeks; No. 1

I Can't Stop Loving You
Ray Charles

W Don Gibson
P Sid Feller
R May '62 on ABC-Paramount
WHEN RAY CHARLES PUT out Modern Sound.? in Country and Western Music, DJs picked up on this remake of the Kitty Wells hit, which hadn't been released as a single. When Charles heard that white vocalist Tab Hunter had cut his own version, ABC got to work, cutting the song down to a 45-friendly two and a half" minutes and rushing the record into stores.

Appears on: Modern sounds in Country and Western Music (Rhino)

• 162 21 weeks; No. 1

Nothing Compares 2U
Sinêad O'Connor

W Prince
P O'Connor, Nellee Hooper
R March '90 on Ensign
ORIGINALLY RECORDED by one of Prince's flop side projects, the Family, the tune became the Number One song of 1990 in O'Connor's rendition. The unforgettable video focused on her face for four minutes until she shed a lone tear. "I didn't intend for that moment to happen," O'Connor said, "but when it did, I thought, 'I should let this happen.'"

Appears on: I Do Not Want What I Haven't Got (Capitol)

• 163 24 weeks; No. 9

Bohemian Rhapsody
Queen

W Freddie Mercury
P Roy Thomas Baker
R Nov. '75 on Elektra
ACCORDING TO QUEEN guitarist Brian May, everyone in the band was bewildered when Mercury brought them a draft of this four-part suite — even before he told them, "That's where the operatic bits come in!" Recording technology was so taxed by the song's multitracked scaramouches and fandangos that some tapes became virtually transparent from being overdubbed so many times.

Appears on: A Night at the Opera (Hollywood)

• 164 18 weeks; No. 32

Folsom Prison Blues Johnny Cash

W Cash
P Sam Phillips
R Jan. '56 on Sun
CASH FIRST RECORDED "Folsom Prison Blues," one of his earliest songs, for Sun in 1956. But it was the thrilling, electric '67 version, live at the prison, that came to define his outlaw persona. The most famous line, "I shot a man in Reno/Just to watch him die," Cash said he wrote while "trying to think of the worst reason ... for killing another person." He added. "It did come to mind quite easily, though."

Appears on: The Essential Johnny Cash (Columbia)

• 165 21 weeks; No. 6

Fast Car
Tracy Chapman

W Chapman
P David Kershenbaum
R April "88 on Elektra
TRACY CHAPMAN WAS A hardened veteran of Boston coffeehouse gigs (she once got a demotape rejection letter suggesting she tune her guitar) when a classmate at Tufts University told his music-publisher dad to check her out. Soon after, she made her 1988 debut, featuring this haunting meditation on escape. "Fast Car" won a Grammy, setting Chapman's career in motion.

Appears on: Tracy Chapman (Elektra)

• 166 23 weeks; No. 1

Lose Yourself
Eminent

W Marshall Mathers, Jeff Bass, Luis Resto
P Eminem
r Oct. '02 on Shady/lnterscope
EMINEM WROTE THIS hit from 8 Mile, his quasi' autobiographical film, in a portable studio on the set. "He was on a break from shooting," said engineer Steven King, "and he laid down all three verses in one take." "Lose" had the fullest sound of Em's career: guitars and woodwinds rising in a tide of self-assurance. He later said he could have only made this while filming.

Appears on: 8 Mile: Music From and Inspired by the Motion Picture (Shady/lnterscope)

• 167 14 weeks; No. 1

Let's Get It On
Marvin Gave

W Gaye, Ed Townsend
P Gaye, Townsend
R June '73 on Tamla
AFTER 1971's "WHAT'S Going On," Gaye radically changed course with this ode to sexual bliss. With the help of producer and songwriter Townsend, Gaye created a masterpiece of erotic persuasion that topped the pop and R&?B charts. Gaye said later that he hoped the song didn't "advocate promiscuity" but also said he had a hunch the song might have "some aphrodisiac power" — which it does.

Appears on: Let's Cet It On (Motown)

• 168 16 weeks; No. 1

Papa Was a Rollin' Stone
The Temptations

W Norman whitfield, Barren Strong
P whitfield
R Oct. '72 on Gordy
AT FIRST THE TEMPTAtions hated this song, especially Dennis Edwards: His father had died on September 3rd, just like the papa in the song. Then "Papa" topped the charts, and it "kind of grew on us," said Temptation Otis Williams.

Appears on: Anthology (Motown)

• 169 21 weeks; No. 4

Losing My Religion
R.E.M.

W Berry, Buck, Mills, Stipe
P SCOtt Litt, R.E.M.
R March '91 on Warner Bros.
"LOSING MY RELIGION" is built around acoustic guitar and mandolin, not exactly a familiar sound on pop radio in the early Nineties — singer Michael Stipe called it a "freak hit." As for the subject matter, it's not religion: "I wanted to write a classic obsession song," he said. "So I did."

Appears on: Out of Time (Warner Bros.)

• 170 Did not chart

Both Sides Now
Joni Mitchell

W Mitchell
P Mitchell
R May '69 on Reprise
AS HER FIRST MARRIAGE fell apart in the late Sixties, Mitchell saw her career bloom with hit covers of her work by singers such as Tom Rush and Judy Collins, including the latter's Top Ten version of "Both Sides Now." Mitchell sang it herself on the 1969 LP Clouds, describing the song as "a meditation on reality and fantasy.... The idea was so big it seemed like I'd just scratched the surface of it."

Appears on: Clouds Warner Bros.)

• 171 22 weeks; No. 1

Dancing Queen
Abba

W Benny Andersson, Bjorn Ulvaeus, Stig Anderson
P Andersson, Ulvaeus
R Nov. 76 on Atlantic
SWEDEN'S BIGGEST musical export debuted this song in 1976 at a ball for King Carl Gustaf on the eve of his wedding.

Classic Abba, "Queen" was a disco — flavo red dessert of sublime melody and pop-operatic harmonies that became the group's only U.S. Number One.

Appears on: Arrival (Polydor)

• 172 9 weeks; No. 59

Dream On
Aerosmith

W Steven Tyler
P Arian Barber
R June 73 on Columbia
TYLER BEGAN WRITING this power ballad in his late teens. He was still at it in Aerosmith's early days, pounding a piano in the basement of the group's living quarters. "Dream On" was the band's first big hit and was later sampled by Eminem on "Sing for the Moment."

Appears on: Aerosmith (Columbia)

• 173 Did not chart

God Save the Queen
The Sex Pistols

W Johnny Rotten, Steve Jones, Glen Matlock, Paul Cook
P Chris Thomas
R May '77 on Warner Bros.
BANNED BY THE BBC FOR "gross bad taste," this blast of nihilism savaged the pomp of Queen Elizabeth II's silver jubilee and came in a sleeve showing Her Majesty with a safety pin through her lip. "Watching her on telly, as far as I'm concerned, she ain't no human being," sneered singer Johnny Rotten. "She's a piece of cardboard they drag around on a trolley."

Appears on: Never Mind the Bollocks, Here's the Sex Pistols (Warner Bros.)

• 174 11 weeksl; No. 1

Paint It, Black
The Rolling Stones

W Mick Jagger, Keith Richards
P Andrew Oldham
R May '66 on London
BRIAN JONES PLUCKED the haunting sitar melody at the 1966 LA. session for this classic. Bill Wyman added klezmerflavored organ; studio legend Jack Nitzsche played the gypsy-style piano. "Brian had pretty much given up on the guitar by then," said Richards. "If there was [another] instrument around, he had to be able to get something out of it. It gave the Stones on record a lot of different textures."

Appears on: Aftermath (ASKCO)

NO. 175
I Fought the Law
The Bobby Fuller Four

11 weeks; No. 9

W Sonny Curtis, Fuller
P Bob Keane
R Feb '66 on Mustang
SINGING IN HIS TEXAS DRAWL, Fuller seemed to channel his idol, Buddy Holly, in his rendition of this tune penned by the Crickets' Curtis. "I Fought the Law" was a bracing hybrid of outlaw romanticism, garage rock, surf music, Wall of Sound and British Invasion energy. Producer Keane created the track's rich reverb by using the vault of a bank next door to the Los Angeles studio as an echo chamber.

Appears on: I Fought the Law: The Best of the Bobby Fuller Four (Rhino)

• 176 10 weeks; No.24

Don't Worry Baby
The Beach Boys

W Brian Wilson, Roger Christian
P Wilson
R May '64 on Capitol
WILSON WROTE "DON'T Worry Baby" for Ronnie Bennett, hoping she'd cut it as a follow-up to the Ronettes' "Be My Baby," a Phil Spector production he listened to so much he wore out the grooves. From the opening drum riff (played by Hal Blaine, also heard on "Be My Baby"), "Don't Worry Baby" is sheer homage but also vintage Beach Boys, with one of Wilson's finest falsettopunctuated lead vocals.

Appears on: sounds of Summer (Capitol)

• 177 21 weeks; No. 7

Free Fallin'
Tom Petty

W Petty, Jeff Lynne
P Lynne
R June '89 on MCA
PETTY AND LYNNE wrote and recorded "Free Fallin'" in just two days, the first song completed for Petty's solo LP Full Moon Fever. "We had a multitude of acoustic guitars," Petty said of the single's Byrds-y feel. "So it made this incredibly dreamy sound." The label initially rejected the album because of a lack of hits. "So I waited six months and brought the same record back," Petty said. "And they loved it."

Appears on: Full Moon Fever (MCA)

• 178 Did not chart

September Gurls
Big Star

W Alex Chilton
P Big Star
R May '74 on Ardent
BIG STAR WERE TOTALLY unfashionable in their day — early Seventies Memphis rockers inspired by Sixties British Invasion pop. A non-hit from the band's second LP, Radio City, "September Gurls" is now revered as a power-pop classic. "They were fairly dark records wrapped in a pop package," drummer Jody Stephens said of Big Star's nowadored catalog. "Maybe that's what's made them enduring."

Appears on: Radio City (Stax)

• 179 11 weeks; No. 1

Love Will Tear Us Apart
Joy Division

W Ian Curtis, Peter Hook, Stephen Morris, Bernard Sumner
P Martin Hannett
R April '80 on Enigma
SINGER CURTIS DID NOT live to see this British band's best single become a hit. He committed suicide in May 1980, two days before a scheduled American tour, "lan's influence seemed to be madness and insanity," said guitarist Sumner. After Gurtis' death, Joy Division carried on under the name New Order.

Appears on: Substance 1977-1980 (Qwest)

• 180 32 weeks; No. 1

Hey Ya!
Out Kast

W André Benjamin
P André 3000
R Sept. '03 on LaFace
NOT A LIKELY RECIPE FOR a hit: a rock song with a bizarre 11/4 time signature by half of a hip-hop duo. Dré played almost all the instruments on this irresistible party jam: He told ROLLING STONE that its guitar chords, the first he ever learned, were inspired by "the Ramones, the Buzzcocks, the Smiths." Fun fact: The "ladies" who cheer halfway in are one woman: engineer Rabeka Tuinei.

Appears on: Speakerboxxx/ The Love Below (LaFace/Arista)

• 181 16 weeks; No. l

Green Onions
Booker T. and the MG's

W Booker T. Jones, Steve Cropper, Lewis Steinberg, Al Jackson
P Jim Stewart
R Oct. '62 on Stax
THE STAX HOUSE BAND hadn't thought of making its own hits until it cooked up this jam before a jingle session. As for the onions, guitarist Cropper said, "We were trying to think of something that was as funky as possible."

Appears on: Green Onions (Atlantic)

• 182 18 weeks; No. 1

Save the Last Dance for Me
The Drifters

W Doc Pomus, Mort Shuman
P Jerry Leiber, Mike Stoller
R sept. '60 on Atlantic
BILLY JOEL SAID IT BEST: Before the Drifters, the last dance was the one nobody stuck around for. But this elegant R&?B ballad made the end of the party sound like the essence of true romance. Lead vocalist Ben E. King later sang the solo hit "Stand By Me."

Appears on: The Drifters' Golden Hits (Atlantic)

• 183 14 weeks; No. 15

The Thrill Is Gone
B.B. King

W Roy Hawkins, Rick Darnell
P Bill Szymczyk
R Dec.'69 on BluesWay
"IT WAS A DIFFERENT kind of blues ballad, and I carried it around in my head for many years," King said of Hawkins' song, which dated back to 1951. The career of the forty-four-year-old King, reinvigorated by the accolades of a host of young guitar heroes, reached its zenith with an inspired performance of the minor-key lament during a 1969 session in which, as King put it, "all the ideas came together."

Appears on: Greatest Hits (MCA)

• 184 13 weeks; No. 3

Please Please Me The Beatles
W John Lennon, Paul McCartney
P George Martin
R Feb. '64 on Vee-Jay
"IT WAS MY ATTEMPT AT writing a Roy Orbison song," Lennon said of "Please Please Me." He originally penned a yearning ballad while listening to Orbison in a bedroom at his aunt's house, but Martin suggested it would sound better sped up. Said Lennon, "By the time the session came around, we were so happy with the result, we couldn't get it recorded fast enough."

Appears on: Please Please Me (Capitol)

• 185 Non-single

Desolation Row
Bob Dylan

W Dylan
P Bob Johnston
R Aug. '65 on Columbia
IN 1969, DYLAN TOLD ROLLING STONE he wrote this song in the back of a New York cab. Since it is 659 words and clocks in at more than eleven minutes, that's a long cab ride. It was spliced together from two consecutive takes during the last sessions for Highway 61.

Appears on: Highway 61 Revisited (Columbia)

• 186 11 weeks; No. 9

I Never Loved a Man (The Way I Love You)
Aretha Franklin

W Ronny shannon
P Jerry Wexler
R March '67 on Atlantic
FRANKLIN WENT TO Fame Studios to cut her soul-stirring take on Shannon's you-done-me-wrong lament with the Muscle Shoals Rhythm Section — "Alabama white boys who took a left turn at the blues," as Wexler described them.

Appears on: I Never Laved a Man Way Way I Love You (Rhino)

• 187 15 weeks; No. 37

Back in Black
AC/DC W Angus Young, Malcolm Young, Brian Johnson P Mutt Lange R July '80 on Atlantic

ONE WEEK IN 1980, ANgus and Malcolm Young were running through ideas 'with frontman Bon Scott in a London rehearsal studio. The next Tuesday, Scott drank himself to death. Instead of retreating, the Youngs finished the songs with a new singer, Brian Johnson. "Malcolm asked me if this riff he had was too funky," says Angus. "And I said, 'Well, if you're gonna discard it, give it to me!'"

Appears on: Back in Black (Sony)

• 188 Did not chart

ho'll Stop the Rain
Creedence deal-water Revival

W John Fogerty
P Fogerty
R Jan. '70 on Fantasy
FOGERTY WANTED IT TO be symbolic, not specific to Vietnam 011969. "As a result," he said, "the song is timeless."

Appears on: Cosmo's Factory (Fantasy)

• 189 27 weeks; No. 1

Stayin' Alive
Bee Gees

W Robin Gibb, Barry Gibb, Maurice Gibb
P Barry Gibb, Robin Gibb, Maurice Gibb, Karl Richardson, Albby Galuten
R Nov. '77 on RSO
THIS DISCO CLASSIC WAS written after Robert Stigwood asked the Bee Gees for music for a film he was producing based on a New York magazine account of the Brooklyn club scene.

Appears on: turday Night Fever (Polydor)

• 190 16 Weeks; No. 12

Knocking on Heaven's Door
Bob Dylan

W Dylan
P Gordon Carroll
R July 73 on Columbia
THREE YEARS HAD passed since his last studio album, and Dylan seemed at a loss. So he accepted an invitation to go to Mexico for Sam Peckinpah's Pat Garrett and Billy the Kid, for which he shot a bit part and did the soundtrack. For a death scene, Dylan delivered this tale of a dying sheriff, who wants only to lay his "guns in the ground."

Appears on: The Essential Bob Dylan (Sony)

• 191 12 weeks; No. 19

Free Bird
Lynyrd Skynyrd

W Alien Collins, Ronnie Van Zant
P AI Kooper
R Sept. 73 on MCA
"WHAT SONG IS IT YOU want to hear?" asks Van Zant on the definitive fourteen-minute live version on One More From the Road. But club audiences initially didn't want to hear "Free Bird" — dedicated to Duane Allman, who died in a 1971 motorcycle crash — until Collins added an uptempo section to the end of the ballad and the overlapping guitars started to boogie.

Appears on: One More From the Road (MCA)

• 192 15 weeks; No. 3

Wichita Lineman
Glen Campbell

W Jimmy Webb
P Al De Lory
R Nov. '68 on Capitol
INSPIRED BY THE ISOLAtion of a telephone-pole worker he saw on the Kansas-Oklahoma border, Webb wrote this in 1968 for Campbell, who had asked if Webb could come up 'with another "By the Time I Get to Phoenix." Campbell changed a guitar part and kept the keyboard from Webb's demo; the chiming sound at the fade, evoking telephone signals, was done on a massive church organ.

Appears on: wichita Lineman (Capitol)

• 193 19 Weeks; No. 2

There Goes My Baby The Drifters
W Benjamin Nelson, Lover Patterson, George Treadwell
P Jerry Leiber, Mike Stoller
R May '59 on Atlantic
THE ODD ARRANGEMENT featured out-of-tune timpani and strings that seemed to quote, of all things, Tchaikovsky's 1812 Overture. "It sounded like a radio caught between two stations," wrote Atlantic's Jerry Wexler. But Ben E. King's croon soared above it all.

Appears on: The very Best of the Drifters (Rhino)

• 194 22 weeks; No. 3

Peggy Sue
Buddy Holly

W Jerry Allison, Holly, Norman Petty
P Petty
R sept. '57 on Coral
WHEN THE CRICKETS first played a new song called "Cindy Lou," Aliison's snare drum was so loud that Petty told him to play in the studio's reception area.

To placate his exiled drummer, Holly changed the title of the song to "Peggy Sue," after Allison's girlfriend.

Appears on: Greatest Hits (MCA)

• 195 18 weeks; No. 15

Maybe The Chantels
W Arlene Smith
P Richard Barrett
R Dec. '57 on End
AT SIXTEEN, SMITH wrote and sang lead on this towering doo-wop song, a template for a generation of girl groups. The Chantels' second single, "Maybe" was recorded at a church in midtown Manhattan in October 1957, when they were all still in high school at St. Anthony of Padua in the Bronx. The single was first credited to label owner George Goldner, but now the world knows better.

Appears on: The Best of the Chantels (Rhino)

• 196 24 weeks; No. 1

Sweet Child 0' Mine
Guns n' Roses

W Guns n' Roses
P Mike Clink
R Aug.'87 on Geffen
IN THE MIDST OF AN ALbum full of songs about cheap drugs and cheaper sex came Axl Rose's love letter to his girlfriend, Erin Everly (daughter of Don Everly). Slash has said he was just "fucking around with the intro riff, making a joke"; neither he nor the rest of the band thought much of it, but Rose knew better. Rose and Erin Everly were later married — for all of one month.

Appears on: Appetite for Destruction (Geffen)

• 197 27 weeks; No. 1

Don't Be Cruel
Elvis Presley

W Otis Blackwell, Presley
P Steve Sholes
R July '56 on RCA
SLAPPING HIS GUITAR back for extra percussion, Presley invented a new style for himself with his take on this song by blues singer Black-well. "Don't Be Cruel," backed with "Hound Dog," became a doublesided smash on the pop, R&?B and country charts.

Appears on: Elvis: 30 #1 Hits (RCA)

• 198 Did not chart

Hey Joe
The Jimi Hendrix Experience

W William Roberts
P Chas Chandler
R Dec. '66 on Reprise
THIS MURDER BALLAD was already a garage-rock staple when Hendrix cut it as a debut single, two weeks after the Experience made their live debut. He was so shy about his voice that manager Chandler even hired a female vocal group, the Breakaways, for backup.

Appears on: Are You Experienced? (MCA)

• 199 16 weeks; No. 16

Flash Light
Parliament

W George Clinton, Bernie Worrell, Bootsy Collins
P Clinton
R Dec. 77 on Casablanca
"FLASH LIGHT" is THE P-Funk Nation's manifesto, spreading the gospel of funk. "We're going to get the message out," Clinton declared in 1978. "We want to put the show on Broadway — tell the story straightforward so people understand that funk mean funk." Keyboardist Worrell provided the bass line, after figuring out how to stack bass tones on his Moog synthesizer.

Appears on: Funkentelechy vs. the Placebo Syndrome (Mercury)

NO. 200
Loser
Beck

24 weeks; No. 10

W Beck Hansen
P Karl Stephenson
R 1993 on Bong Load
IN 1992, TWENTY-TWO-year-OLD BECK HANSEN WAS scraping by as a video-store clerk while performing bizarro folk songs at L.A. coffeehouses. After friends from Bong Load Records offered to record some songs, Beck cut "Loser" in his producer's kitchen. Over a vaguely Middle Eastern break beat, Beck got off a series of in-joke rhymes inspired by a friend with a band called Loser. Though the irresistible slacker anthem was a hit in late 1993 as a single-only release, it became the centerpiece of an album (1994's Mellow Gold) that cost only $200 to make.

Appears on: Mellow Gold (Geffen)

• 201 2 weeks; No. 98

Bizarre Love Triangle
New Order

W Bernard Albrecht, Gillian Gilbert, Peter Hook, Stephen Morris
P New Order
R Oct. '86 on Qwest
AFTER THE DEATH OF JOY Division's Ian Curtis, his bandmates became New Order. "There's life and there's death," drummer Morris said in 1983. "We were still alive, so we thought we'd carry on doing it." New Order wrote their moody synthpop hits in a Manchester rehearsal room next to a cemetery. Said Morris, "Fate writes the lyrics, and we do the rest."

Appears on: Substance (Qwest)

• 202 14 weeks; No. 1

Come Together
The Beatles

W John Lennon, Paul McCartney
P George Martin
R Sept. '69 on Apple
TIMOTHY LEARY WAS running for governor of California when he asked Lennon to write a campaign song for him. The resulting tune was not politically useful, so Lennon brought it to the Abbey Road sessions. Recalled McCartney, "I said, 'Let's slow it down with a swampy bass-and-drums vibe.' I came up with a bass line, and it all flowed from there." It was the last time all four Beatles cut a song together.

Appears on: Abbey Road (Apple)

• 203 9 weeks; No. 7

Positively 4th Street
Bob Dylan

W Dylan
P Bob Johnston
R Sept. '65 on Columbia
ONE OF THE GREAT DYLan riddles: In whose di-rection was he aiming these twelve venomous verses? Most likely, "4th Street," recorded as the follow-up single to "Like a Rolling Stone," is about all the naysayers and plastic people he encountered during his time in Greenwich Village (when he lived on West 4th) and his stint on fraternity row at the University of Minnesota (located on 4th Street in Minneapolis).

Appears on: The Essential Bob Dylan (Sony)

• 204 10 weeks: No. 25

Try a Little Tenderness
this Redding

W Jimmy Campbell, Reginald Connelly, Harry Woods
P Steve Cropper, Jim Stewart
R Dec. '66 on Stax
AT A REHEARSAL, drummer Al Jackson Jr. switched to a doubletime beat on the second verse, propelling the song to a high-energy climax. "We didn't know [Al] was gonna do that," said bassist Duck Dunn. "It was just amazing." Appears on: Very Best of Otis Redding (Rhino)

• 205 19 weeks; No. 1

Lean On Me
Bill Withers

W Withers
P Withers
R June '72 on Sussex
GROWING UP IN THE coal-mining town of Slab Fork, West Virginia, Withers learned a lot about helping neighbors when they needed you. He missed that human connection when he moved to L.A., where childhood memories of togetherness provided the inspiration for "Lean On Me."

Appears on: Lean On Me (Sony)

• 206 15 weeks: No. 1

Reach Out, I'll Be There
The Four Tops

W Eddie Holland, Lamont Dozier, Brian Holland
P Holland, Dozier, Holland
R Aug. '66 on Motown
HDH PUMPED OUT FOUR

Tops hits at a breakneck pace. "They were over so fast I can't remember them at all," said Dozier. Phil Spector described "Reach Out, I'll Be There," the Tops' second Number One hit, as "black Dylan."

Appears on: The Ultimate Collection (Motown)

• 207 27 weeks; No. 2

Bye Bye Love
The Everly Brothers

W Boudleaux and Felice Bryant
P Archie Bleyer
R May '57 on Cadence
"BYE BYE LOVE" HAD been turned down by thirty other artists before Cadence Records owner Bleyer offered it to the Everly Brothers for their first single. Phil and Don took it happily, if for no other reason than the sixty-four dollars they would each earn for making it.

Appears on: All-Time Original Hits (Rhino)

• 208 1 week; No. 95

Gloria
Them

W Van Morrison
P Tommy Scott
R March '65 on Parrot
WHEN MORRISON WROTE his first hit, "Gloria," he was just another hungry young rocker, with the Belfast garage band Them. "I was just being me, a street cat from Belfast," Morrison said. "Probably like thousands of kids from Belfast who were in bands." A Chicago group called Shadows of Knight hit with a more cautious version in 1966; Morrison later complained that "Gloria" was "capitalized on a lot."

Appears on: The Story of Them (Polydor)

• 209 11 weeks: No. 23

In My Room
The Beach Boys

W Brian Wilson, Gary Usher
P Wilson
R Sept. '63 on Capitol
THOUGH USHER WROTE the lyrics, the song's conceit was pure Wilson. "Brian was always saying that his room was his whole world," Usher said. The three-part harmony on the first verse that Wilson sang with his brothers Carl and Dennis recalled the vocal bits that Brian taught them when they shared a childhood bedroom. As the Beatles had done with some hits, the Boys cut a version in German.

Appears on: Surfer Girl/Shut Down, volume 2 (Capitol)

210 15 weeks; No. 1
96 Tears
? and the Mysterians

W Rudy Martinez
P Martinez
R Sept. '66 on Pa-Go-Go
THE BAND, ALL MEXICAN-Americans living in Michigan, cut "96 Tears" in their manager's living room, and ? promoted the single throughout the state, all without ever revealing his real name (Rudy Martinez) or removing his sunglasses. That organ figure put the Farfisa company on the map (? later claimed they had used a Vox). The original has never been on CD; all the CD versions are rerecordings.

Appears on: More Action (Cavestomp)

• 211 7 weeks; No. 32

Caroline, No
The Beach Boys

W Brian Wilson, Tony Asher
P Wilson
R March '66 on Capitol
THE FIRST SONG REleased as a Brian Wilson solo single is largely the re-suit of amis heard lyric. Wilson told Asher about a girl he'd liked in high school named Carol, and Asher responded with the lyric "Oh, Carol, I know." But Wilson heard it as "Caroline, no" and dashed off this song while stoned.

Appears on: Pet Sounds (Capitol)

212 27 weeks; No. 12
1999
Prince

W Prince
P Prince
R Oct. '82 on Warner Bros.
WHEN PRINCE RECORDED 1999, he would go all day and all night without rest, and turn down food since he felt eating would make him sleepy. The opening verse to "1999" was originally recorded in three-part harmony; Prince split up the vocals, and the harmony parts became a new, odd melody.

Appears on: 1999 (Warner Bros.)

• 213 Predates pop charts

Your Cheatin' Heart
Hank Williams

W Williams, Fred Rose
P Rose
R Jan. '53 on MGM
LEGEND HAS TT THAT this song came to Williams when he was thinking about his first wife while driving around with his second; she wrote down the lyrics for him in the passenger seat. After polishing it with Nashville songwriter Rose, Williams recorded "Your Cheatin' Heart" during the last sessions he ever did, on September 23rd, 1952. He told a friend, "It's the best heart song I ever wrote."

Appears on: The ultimate Collection (Mercury Nashville)

• 214 Non-single

Rockin' in the Free World
Neil Young

W Young
P Niko Bolas, Young
R Oct. '89 on Reprise
"DON'T FEEL LIKE SATAN/ But I am to them," Young spat in this raucously ambivalent song about the pride and guilt of being an American. Written during the reign of Bush Sr., it was inspired by a remark from a member of Crazy Horse, who said gigs were safer in Europe than in the Middle East: "It's better to keep rockin' in the free world." "It was such a cliché," Young said. "I knew I had to use it."

Appears on: Freedom (Reprise)

• 215 Predates pop charts

Sh-Boom
The Chords

W James Edwards, Carl Feaster, Claude Feaster, James Keyes, Floyd McRae
P Ahmet Ertegun
R April '54 on cat
"LIFE COULD BE A DREAM .... If you would tell me I'm the only one that you love," sang the Chords in this doo-wop hit. Some music historians consider this to be the first rock 6? roll record. Said Keyes, the group's first tenor, "[Our voices] were like horns blowing rhythmic things." The "boom" in the title chorus was inspired by the then-raging fear of the H-bomb.

Appears on: Doo wop Box (Rhino)

• 216 13 weeks; No. 9

Do You Believe in Magic
The Lovin' Spoonful

W John Sebastian
P Erik Jacobsen
R July '65 on Kama Sutra
THE FIRST SINGLE BY THE Lovin' Spoonful went Top Ten and, in a sense, never went away. While rehearsing "Do You Believe in Magic," Sebastian affixed a contact mike to his autoharp, and in combination with Zal Yanovsky's electric guitar they hit on a unique sound. Sebastian said the song was rooted in "the chord progressions coming out of Motown at the time."

Appears on: Do YOU Believe in Magic (Buddha)

• 217 8 weeks; No. 60

Jolene
Dolly Parton

W Dolly Parton
P Bob Ferguson
R Jan. '74 on RCA
WHEN PARTON RECORDed "Jolene" in 1974, she was chiefly known as Porter Wagoner's TV partner, although she had written the hit "Coat of Many Colors." "Jolene" showed how she could put her stamp on traditional country, buffing an old-timey groove and belting a tale of romantic rivalry. It became a Number One country single and has been covered with extra menace by the White Stripes.

Appears on: Jolene (Buddha/BMG)

• 218 10 weeks; No. 60

Boom Boom
John Lee Hooker

W Hooker
P Calvin Carter
R Feb. '62 on Vee-Jay
KEITH RICHARDS SAID OF Hooker, "Even Muddy Waters was sophisticated next to him." It was a compliment. In his gruff voice, the Hook put boogie to the blues in "Boom Boom," inspiring a generation of British blues acts, including the Animals, who covered the song to great effect.

Appears on: The Very Best of John Lee Hooker (Rhino)

• 219 Non-single

Spoonful
Howlin' Wolf

W Willie Dixon
P Leonard and Phil Chess
R June '60 on Chess
CHESS DO-IT-ALL DIXON wrote "Spoonful" for the Wolf in 1960. "It doesn't take a large quantity of anything to be good," said Dixon. The Wolf, however, did not cheat on the heavy manners when he devoured the song in the studio with his mad-animal growl.

Appears on: His Best: chess 50th Anniversary Collection (Chess)

• 220 13 weeks; No. 5

Walk Away Renee
The Left Banke

W Michael Brown, Bob Calilli, Tony Sansone
P Harry Lookofsky
R sept. '66 on Smash
IN 1965, BROWN WAS A sixteen-year-old keyboard prodigy with a crush on a bandmate's girlfriend — bassist Tom Finn had introduced Renee Fladen to the group. Brown promptly wrote three songs about her, including "Walk Away Renee." Brown quit the Left Banke before they finished recording "Renee" but returned after the song became a hit a year later.

Appears on: There's Gonna Be a Storm (Mercury)

• 221 14 weeks; No. 16

Walk on the Wild Side
Lou Reed

W Reed
P David Bowie, Mick Ronson, Reed
R Dec. '72 on RCA
AFTER REED LEFT THE Velvet Underground in 1970, he was asked to write songs for a musical based on Nelson Algren's novel A Walk on the Wild Side. The show was never mounted, but Reed kept the title and applied it to characters he knew from Andy Warhol's Factory. "I always thought it would be kinda fun to introduce people you see at parties but don't dare approach," said Reed.

Appears on: Transformer (RCA)

• 222 15 weeks; No. 1

Oh, Pretty Woman
Roy Orhison

W Orbison, Billy Dees
P Wesley Rose
R Aug. '64 on Monument
ORBISON SAID HE TOLD Dees to "get started writing by playing anything that comes to mind.... My wife came in and wanted to go to town to get something." Orbison asked if she needed money. Dees cracked, "Pretty woman never needs any money." The rest was easy.

Appears on: For the Lonely: 18 Greatest Hits (Rhino)

• 223 15 weeks: No. 8

Dance to the Music
Sly and the Family Stone

W Sylvester Stewart (Sly Stone)
P Stone
R Jan. '68 on Epic
SAXMAN JERRY MARTINI

claims Stone did this song just to satisfy CBS executives' desire for a hit. "He hated it," Martini said. "It was so unhip to us." But "Dance" fit Stone's vision for the band: "I wanted everyone to get a chance to sweat."

Appears on: Dance to the Music (Sony)

• 224 19 weeks; No. 1

Good Times
Chic

W Nile Rodgers, Bernard Edwards
P Rodgers, Edwards
R June '79 on Atlantic
THE TONE WAS HALFironic when Chic released "Good Times," a hedonistic roller-disco tune, during the Seventies recession. The other half was pure joy, and Edwards' bass line — bouncing on one note, then climbing — proved too snappy for just one song. Queen borrowed it for "Another One Bites the Dust"; in the South Bronx, the Sugarhill Gang put it under "Rappers Delight."

Appears on: Risqué (Atlantic)

NO. 225
Hoochie Coochie Man
Muddy Waters

Did not chart

W Willie Dixon
P Leonard and Phil Chess, Dixon
R Jan. '54 on Chess
BEFORE WATERS RECORDED "Hoochie Coochie Man," he tested it out at the Chicago blues club Zanzibar. Dixon gave Waters some advice before the band hit it: "Well, just get a little rhythm pattern, y'know," he said. "Do the same thing over again, y'know, and keep the words in your mind." Waters cut it a couple of weeks later, with Dixon on bass.

Appears on: The Anthology (Chess/MCA)

• 226 4 weeks: No. 92

Moondance
Van Morrison

W Morrison
P Morrison
R Feb. '70 on Warner Bros.
THE TITLE SONG OF MORrison's first self-pro-duced album started "as a saxophone solo," he said. "I used to play this sax number over and over, anytime I picked up my horn." He played the sax solo on this recording, which combined the bucolic charm of his life in Woodstock, New York ("the cover of October skies"), with his love of the sophisticated jazz and R&B of Mose Allison and Ray Charles.

Appears on: Moondance (Warner Bros.)

• 227 16 weeks; no. 3

Fire and Rain
James Taylor

W Taylor
P Peter Asher
R Feb. '70 on Warner Bros.
TAYLOR WROTE THIS song in three phases: in a London flat while he was signed to the Apple label; in a New York hospital as he kicked heroin; and during a stay in a Massachusetts psychiatric facility. "It's like three samplings of what I went through," he said.

Appears on: Sweet Baby James (Warner Bros.)

• 228 13 weeks; No. 45

Should I Stay or Should I Go
The Clash

W The Clash
P Glyn Johns
R May '82 on Epic
"MY MAIN INFLUENCES," Mick Jones said "are Mott the Hoople, the Kinks and the Stones" — which explains the choppy riff here. The hellbent chorus hints at the end: At the time, "none of us were really talking to each other," said Paul Simonon. The original four were soon no more.

Appears on: combat Rock (Sony)

• 229 Did not chart

Mannish Boy
Muddy Waters

W McKinley Morganfield, Mel London, Ellas McDaniel
P Leonard and Phil Chess, Willie Dixon
R May '55 on Chess
IN 1955, WATERS HEARD Bo Diddley audition "I'm a Man" for Chess. Waters replied with "Mannish Boy." (Diddley got a credit as Ellas McDaniel, his real name.) Both songs were issued in 1955 — and shot into the R&B Top Ten. "When I heard him, I realized the connection between all the music I heard," Keith Richards said of Waters. "He was like the code book."

Appears on: The Anthology (MCA/Chess)

• 230 6 weeks; No. 33

Just Like a Woman
Bob Dylan

W Dylan
P Bob Johnston
R May '66 on Columbia
DYLAN WROTE THIS BALlad on Thanksgiving Day 1965, while on tour in Kansas City. His nonstop creative rush was taking a big toll. "I don't consider myself outside of anything," he said at the time. "I just consider myself not around." He turned his emotional torment into this poignant song, allegedly inspired by doomed Andy Warhol starlet Edie Sedgwick.

Appears on: Blonde on Blonde (Columbia)

• 231 2l weeks; No. 3

Sexual Healing
Marvin Gaye

W Gaye, Odell Brown, David Ritz
P Gaye
R Oct. '82 on Columbia
IN APRIL 1982, GAVE WAS living in exile in Brussels and suffering writer's block. One night, he and biographer David Ritz were discussing pornography (Gaye had a large cache of S&M literature). "I suggested that Marvin needed sexual healing," Ritz wrote. Gaye put the idea to a reggae-style beat by sideman Brown. The result: Gaye's last Top Five hit before his death in 1984.

Appears on: Midnight Love (Columbia)

• 232 21 weeks; No. 2

Only the Lonely
Roy Orbison

W Joe Melson, Orbison
P Fred Foster
R May '60 on Monument
ORBISON INTENDED TO offer this song to either Elvis Presley (also a Sun Records alumni) or the Everly Brothers, who had cut the Orbison song "Claudette." But Orbison's falsetto made the loneliness real. "For a baritone to sing as high as I do," he said, "is ridiculous."

Appears on: For the Lonely: 18 Greatest Hits (Rhino)

• 233 11 weeks; No. 13

We Gotta Get Out of This Place
The Animals

W Barry Mann, Cynthia Weil
P Mickie Most
R Aug. '65 on MGM
BORN IN THE BRILL BUILDing song factory, it got a harsh white-blues treatment from the Animals. As singer Eric Burdon put it, "Whatever suited our attitude, we just bent to our own shape." No surprise: It's a hit with coalition forces in Iraq.

Appears on: Best of the Animals (Raven)

• 234 Did not chart

I'll Feel a Whole Lot Better
The Byrds

W Gene Clark
P Terry Melcher
R June '65 on Columbia
THE BYRDS WERE THE first electric champions of Bob Dylan's songs. Dylan in turn praised the exotic balladry of main writing Byrd Gene Clark. "I remember him saying, 'Gene is really interesting to me,'" said bassist Chris Hillman. dark's articulate melancholy and beguiling melodies were on blazing display here, draped in Roger McGuinn's twelve-string jangle.

Appears on: Mr. Tambourine Man (Columbia)

• 235 Predates pop charts

I Got a Woman
Hay Charles

W Charles, Renald Richard
P Jerry Wexler
R Nov. '54 on ABC-Parliament
CHARLES "WAS RIDING through Indiana one night in 1954 with his musical director Richard when they began singing along to a gospel tune on the radio. "Ray sang something like, 'I got a woman,'" said Richard, "I answered, 'Yeah, she lives across town.'" He finished the song the next day, and Charles cut it at an Atlanta radio station — a session now recognized as the birth of soul.

Appears on: Atlantic Singles (Rhino)

• 236 Did not chart

Everyday
Buddy Holly and the Crickets

W Charles Hardin, Norman Petty
P Petty
R Sept. '57 on Coral
THE FLIP SIDE TO "PEGGY Sue," "Everyday" features the celesta, a key board with a glockenspiel-like tone that Petty kept in his New Mexico studio. (It was played by his wife, Vi.) The percussion is drummer Jerry Allison keeping time by slapping his knees.

Appears on: Best of Buddy Holly (Universal)

• 237 11 weeks; No. 48

Planet Rock
Afrika Bambaataa and the Soul Sonic Force

W Bambaataa, John Robie, the Soul Sonic Force
P Bambaataa, Arthur Baker
R July '82 on Tommy Boy
BAMBAATAA HAD the raps and crew; Robie had synth chops. "I said, 'Can you play stuff like Kraftwerk?'" said Bam, who featured the Germans' platters at DJ gigs. "He said, 'I'll tear that shit up.'" They both did on this tour de funk.

Appears on: Looking for the Perfect Beat 1980-1985 (Tommy Boy)

• 238 20 weeks; No. 12

I Fall to Pieces
Patsy Cline

W Hank Cochran
P Owen Bradley
R Jan. '61 on Decca
CLINE WAS RELUCTANT to record this ballad, which had been turned down by Brenda Lee, until Bradley, coaxed her into it. The sound was stone country but wrapped in elaborate pop, with Cline crying inside, like a nerve rubbed raw by heartbreak.

Appears on: 12 Greatest Hits (MCA)

• 239 18 weeks; No. 2

The Wanderer
Dion

W Ernie Maresca
P Gene Schwartz
R Dec. '61 on Laurie
DION DIMUCCI's TRADEmark hit was a swaggering shuffle about a real-life hardass who wore tat-toos of his girlfriends' names on his arms. "You say to a chick, 'Stay away from that guy,'" Dion said in 1976. "And she would say, 'What guy?' Chicks loved a rebel."

Appears on: Runaround Sue (Capitol)

• 240 12 weeks: No. 10

Son of a Preacher Man
Dusty Springfield

W John Hurley, Ronnie Wilkins
P Jerry Wexler
R Nov. '68 on Atlantic
SPRINGFIELD WAS WHITE and English but sang as if born with black American soul. In 1968, with producer Wexler, she went to Memphis, the mecca of Dixie R&B, to record Dusty in Memphis. She ended up doing her vo-cals in New York, but no matter: On this gospel-tinged jewel, her deep, heated voice captured the carnal fire of the South.

Appears on: Dusty in Memphis (Rhino)

• 241 8 weeks; No. 22

Stand!
Sly and the Family Stone

W Sylvester Stewart (Sly Stone)
P Stone
R April '69 on Epic
THE TITLE HIT FROM SLY Stone's classic black-rock LP became a civil-rights anthem. But when a test pressing got a muted reaction on San Francisco radio, Stone added the funky coda, played by session musicians because the Family was unavailable — completing the magic.

Appears on: Stand! (Sony)

• 242 15 weeks; No. 6

Rocket Man
Elton John

W John, Bernie Taupin
P Gus Dudgeon
R May '72 on Uni
A PERFECT SONG FOR the age of moonwalks, this star trek was the elegiac tale of an astronaut lost in space, light years from home. Taupin wrote it on the way to visiting his own folks. "I got inside," he said, "and had to rush to write it all down before I'd forgotten it."

Appears on: Honky Chateau (Island)

• 243 27 weeks; No. 3

Love Shack
The B-52's

W Kate Pierson, Fred Schneider, Keith Strickland, Cindy Wilson
P Don Was, Nile Rodgers
R June '89 on Reprise
THE B-52'S HAD FEW REAsons to party in 1989: Guitarist Ricky Wilson had died; their previous album had flopped. But with production by dance-rock master Don Was, they slapped smiles and Dixie New Wave glitter all over this bouncing beauty. With the help of a backwoods-boogaloo video (with a cameo by future drag star RuPaul), the B's had a Top Ten hit.

Appears on: Cosmic Thing (Reprise)

• 244 13 weeks; No. 7

Gimme Some Lovin'
The Spencer Davis Group

W Davis, Steve Winwood, Muff Winwood
P Jimmy Miller
R Dec. '66 on United Artists
THE SHOCK OF HEARING "Gimme Some Lovin'" — its raging organ, tribal rhythm and impossibly raw vocal — was equaled only by the discovery that teenage singer Steve Winwood was from Birmingham — the English one. "Steve had been singing, 'Gimme some lovin',' just yelling anything," said bassist-brother Muff. "It took about an hour to write, then down the pub for lunch."

Appears on: Gimme Some Lovin' (Sundazed)

• 245 Did not chart

The Night They Drove Old Dixie Down
The Band

W Robbie Robertson
P John Simon, the Band
R Sept. '69 on Capitol
ROBERTSON, A CANADIan, vividly depicted the Civil War-era South in this moving dirge. "I remember taking him to the library so he could research the history and geography," said Levon Helm, the Band's only American, whose gritty vocal evoked the interior struggle of someone trying to make sense of a lost cause — like, in 1969, the war in Vietnam.

Appears on: The Band (Capitol)

• 246 12 weeks; No. 6

(Your Love Keeps Lifting Me) Higher and Higher
Jackie Wilson

W Gary Jackson, Raynard Miner, Carl Smith
P Carl Davis
R Aug. '67 on Brunswick
AT FIRST, HE sane it like a ballad. But Wilson hit the right gallop after producer Davis told him "to jump and go along with the percussion." Motown bassist James Jamerson played down below.

Appears on: The Very Best of Jackie Wilson (Rhino)

• 247 16 weeks; No. 2

Hot Fun in the Summertime
Sly and the Family Stone

W Sylvester Stewart (Sly Stone)
P Stone
R Aug. '69 on Epic
SUMMER WAS ALready under way when Stone handed in this heavenly soul ballad to his label. It came out just before the Family Stone gave their legendary performance at the '69 Woodstock — as the first band to sign up for the historic festival.

Appears on: Greatest Hits (Epic)

• 248 12 weeks; No. 36

Rappers Delight
Sugarhill Gang

W S. Robinson, H.Jackson, M. Wright, G. O'Brien
P Sylvia Robinson
R Oct. 79 on Sugar Hill
MASTER GEE, WONDER Mike and Big Bank Hank were a pure studio creation, a trio of unknown MCs recruited by Sugar Hill's Sylvia Robinson to make rap's first radio hit. Based on a sample of Chic's "Good Times," the track — with raps about bad food instead of boasting — kept going hip-hop, hippity-to-the-hop for fifteen minutes.

Appears on: Rappers Delight: The Best of Sugarhill Gang (Rhino)

• 249 12 a weeks; No. 2

Chain of Fools
Aretha Franklin

W Don Covay
P Jerry Wexler
R Nov. '67 on Atlantic
THE SECOND OF FOUR hits from 1968's Lady Soul, this kiss-off was written by Covay as a straight blues about field hands in the South. Covay reworked the lyrics for Franklin; producer Wexler cooked up the propulsive stomp. When songwriter Ellie Greenwich heard the track in Wexler's office, she suggested an extra vocal-harmony part, which Wexler got her to sing on the final master.

Appears on: Lady Soul (Rhino)

No. 250
Paranoid
Black Sabbath

8 weeks; No. 61

W Geezer Butler, Tony lommi, Ozzy Osbourne, William Ward
P Rodger Bain
R Nov. 70 on Warner Bros.
AFTER SABBATH'S FIRST U.S. tour, guitarist Tony Iommi hunkered down at Regent Studios in London, trying to write one more song for the group's second album. "I started fiddling about on the guitar and came up with this riff," he said. "When the others came back [from lunch], we recorded it on the spot." "Paranoid," a two-minute blast of protopunk, became Sabbath's biggest single. It is also proof of the short distance between heavy metal and the Ramones.

Appears on: Paranoid (Castle)

• 251 26 weeks; No. 1

Mack the Knife
Bobby Darin

W Marc Blitzstein. Bertolt Brecht, Kurt Weill
P Ahmet Ertegun
R March '59 on Atco
DARIN BEGAN IN THE 1950S with the rock & roll bathtub classic "Splish Splash." But he changed his image with his hepcat version of a morbid tale from Weill's Threepenny Opera. Darin came on as a finger-snap-ping sophisticate at home in the cocktail lounge, scatting over a jazzy groove. He sounded so suave it was easy to forget he was singing about a bloodthirsty Berlin gangster.

Appears on: That's All (Atlantic)

• 252 Pre-dates pop charts

Money Honey
The Drifters

W Jesse Stone
P Ahmet Ertegun, Jerry Wexler
R Sept. '53 on Atlantic
THE DRIFTERS WHO SANG "Money Honey" were a tough R&B group led by Clyde McPhatter, one of the greatest early soul singers. After McPhatter got drafted in 1954, the Drifters enjoyed pop success with a totally different lineup. Sadly, McPhatter drank himself to death in 1972 before reaching forty.

Appears on: Greatest Hits (Curb)

• 253 11 weeks; No. 37

All the Young Dudes
Mott the Hoople

W David Bowie
P Bowie
R July '72 on Columbia
U.K. HARD-ROCK BAND Hoople had already passed up "Suffragette City," so they didn't say no when Bowie of-fered to let them record "Dudes," the ultimate glamrock hymn. "I'm thinking, 'He wants to give us that?'" said drummer Dale Griffin. "'He must be crazy!'"

Appears on: All the Young Dudes (Columbia)

• 254 10 weeks; No. 47

Highway to Hell
AC/DC

W Angus Young, Malcolm Young, Bon Scott
P Robert John Lange
R Aug. '79 on Atlantic
"I'VE BEEN ON THE road for thirteen years," AC/DC singer Scott said in 1978. "Planes, hotels, groupies, booze . . . they all scrape something from you." Pumped up by producer Lange, "Highway" is the last will and testament of Scott: When he yells, "Don't stop me," right before Angus Young's guitar solo, it's clear that no one could — he drank himself to death in 1980.

Appears on: Highway to Hell (Atlantic)

• 255 21 weeks; No. 1

Heart of Glass
Blondie

W Deborah Harry, Chris Stein
P Mike Chapman
R Sept. '78 on Chrysalis
BLONDIE SINGER HARRY and guitarist Stein, her boyfriend, 'wrote the song in their dingy New York apartment; key boardist Jimmy Destri provided the synthesizer hook. The result brought punk and disco together on the dance floor. "Chris always wanted to do disco," Destri said. Not all of their rock fans agreed. "We used to do 'Heart of Glass' to upset people," he added.

Appears on: Parallel Lines (Capitol)

• 256 Did not chart

Paranoid Androidx
Radiohead

W Thorn Yorke
P Nigel Godrich, Radiohead
R May '97 on Capitol
"'PARANOID ANDROID' IS about the dullest fucking people on earth," said singer Yorke, referring to lyrics such as "Squealing Gucci little piggy," about a creepy coked-out woman he once spied at an L.A. bar. The sound was just as unnerving: a shape-shifting, threepart prog-rock suite. Spooky fact: It was recorded in actress Jane Seymour's fifteenth-century mansion, a house that Yorke was convinced was haunted.

Appears on: OK Computer (Capitol)

• 257 11 weeks; No. 1

Wild Thing
The Troggs

W Chip Taylor
P Larry Page
R June '66 on Atco/Fontana
WHEN SONGWRITER Taylor demo'd this threechord monster in 1965, he didn't take it too seriously: "I was on the floor laughing when I was through." But after a new U.K. band called the Troggs got hold of it, "Wild Thing" became a bar-band standard. As Taylor said, "It's still inspired, even in its own dumbness." Famously, Jimi Hendrix set his guitar on fire playing this song at Monterey Pop.

Appears on: Greatest Hits (Prime Cuts)

• 258 11 weeks; No. 9

I Can See for Miles
The Who

W Pete Townshend
P Kit Lambert
R Oct. '67 on Decca
"I SAT DOWN AND MADE it good from the beginning," Townshend said of the Who's most volcanic studio single in his first ROLLING STONE interview. Written in 1966, "Miles" was painstakingly built in London and L.A. on rare days off from touring in the summer of '67, with Townshend piling on multiple guitars to replicate his onstage amp howl. That fury powered the song into the U.S. Top Ten.

Appears on: The Who Sell Out (MCA)

• 259 Non-single

Hallelujah
Jeff Buckley

W Leonard Cohen
P Andy Wallace
R Aug. '94 on Columbia
DURING HIS FAMED EARLY gigs at the New York club Sin-é, Buckley used to break hearts with his version of this Cohen prayer. Buckley called it an homage to "the hallelujah of the orgasm" and had misgivings about his sensuous rendition: "I hope Leonard doesn't hear it." On his posthumous live album Mystery White Boy, Buckley turns "Hallelujah" into a medley with the Smiths' "I Know It's Over."

Appears on: Grace (Columbia)

• 260 11 weeks; No. 10

Oh, What a Night
The Dells

W Marvin Junior, John Punches
P Bobby Miller
R Aug. 1969 on Cadet
CHICAGO QUINTET THE Dells scored a regional hit with this song in 1956. But bass vocalist Chuck Barksdale wasn't on the record, so thirteen years later, he persuaded the Dells to remake it — and included his own opening monologue. "I think a little ego got involved there," he said.

Appears on: Ultimate Collection (Hip-0)

• 261 14 weeks; No. 4

Higher Ground
Stevie Wonder

W Wonder
P Wonder
R Aug. '73 on Tamla
"GROUND" WAS RECORDed just before Wonder was involved in a near-fatal accident in August '73 that left him in a coma. Early in Wonder's recovery, his road manager sang the melody of "Ground" into the singer's ear; Wonder responded by moving his fingers with the music.

Appears on: Innervisions (Motown)

• 262 11 weeks; No. 16

Ooo Baby Baby
Smokey Robinson and the Miracles

W Robinson, Warren Moore
P Robinson
R March '65 on Tamla
ROBINSON CALLED THIS ballad his "national anthem," noting, "Wherever we go, it's the one song that everybody asks for." One of his saddest melodies, "Baby" also has what may be his most delicate and wounded vocal. When Robinson sighs the line "I'm crying," it's a reminder that no matter how many vocalists keep covering his songs, nobody sings Smokey like Smokey.

Appears on: Ooo Baby Baby: The Anthology (Motown)

• 263 18 weeks; No. l

He's a Rebel
The Crystals

W Gene Pitney
P Phil Spector
R Aug. '62 on Philles
THE CRYSTALS WERE from Brooklyn, but Spector had bolted New York for Los Angeles to record "He's a Rebel." Worried that someone else would cut it first, he didn't wait for the the original Crystals to fly out. Instead he recorded this celebration of teenage bad boys with Darlene Love and the Blossoms under the Crystals name. A humbling footnote: Spector was just twenty-one years old.

Appears on: Bust of the Crystals (ABKCO)

• 264 Did not chart

Sail Away
Randy Newman

W Newman
P Lenny Waronker
R June '72 on Reprise
EVERYBODY FROM RAY Charles to Etta James has covered this piano ballad — even though it's a portrait of America from the perspective of a slave trader. As usual for Newman, it combines lush melody with painfully funny satire. "One thine with my music." Newman admitted, "you can't sit and eat potato chips and have it on in the background at a party."

Appears on: Sail Away (Rhino)

• 265 15 weeks; No. 1

Tighten Up
Archie Bell and the Drells

W Bell, Billy Butler
P Skipper Lee Frazier
R March '68 on Atlantic
AFTER BELL GOT HIS draft notice, in May '67, he wanted to record with his group, the Drells, before he got shipped off to Vietnam. He pulled out "Tighten Up," one of the group's old demos, and remade it as a strutting funk vamp. Bell got shot in the leg in Vietnam; the song went to Number One while he was in a military hospital trying to convince people the song on the radio was his.

Appears on: Tightening It Up: The Best of Archie Bell and the Drells (Rhino)

• 266 11 weeks: No. 23

Walking in the Rain
The Ronettes

W Barry Mann, Cynthia Weil, Phil Spector
P Spector
R Oct. '64 on Philles
JUST AS THE FIRST WAVE of British Invasion bands threatened to overtake Spector at the top of the pop charts, the producer responded with "Walking in the Rain." The dreamy ballad features Veronica "Ronnie" Bennett singing lead. She nailed the vocal on the first take — unheard of in Spector's world. Bennett and Spector were married two years later.

Appears on: The Best of the Remettes (ABKCO)

• 267 Did not chart

Personality Crisis
New York Dolls

W David Johansen, Johnny Thunders
P Todd Rundgren
R Aug. '73 on Mercury
NO SONG BETTER CAP' tured the New York Dolls' glammed-out R&B than "Personality Crisis," the opening track on the group's debut album. Produced by Rundgren during an eight-day session, "Personality Crisis" was the trashy sound of an identity meltdown. Soon after, the Dolls fell victim to one themselves and dissolved amid a haze of drugs.

Appears on: New York Dolls (Mercury)

• 268 Did not chart

Sunday Bloody Sunday
U

W Bono, the Edge, Adam Clayton, Larry Mullen Jr.
P Steve Lillywhite
R March '83 on Island
THIS RALLYING CRY SET to a military beat was inspired by two Sunday massacres in the ongoing civil war between Irish Catholics and Protestants in Northern Ireland. The band changed the song's opening line from "Don't talk to me about the rights of the IRA," to "I can't believe the news today" out of fear that its plea for peace would be misconstrued.

Appears on: War (Island)

• 269 Did not chart

Roadrunner
The Modern Lovers

W Jonathan Richman
P John Cale
R Oct. 76 on Beserkley
BOSTON NATIVE RICHman was obsessed with the Velvet Underground; when he started his own band, he rewrote the Velvets' "Sister Ray" into an ecstatic two-chord tribute to cruising down the highway with the radio on. This 1972 recording (featuring future members of Talking Heads and the Cars) wasn't released for more than three years — whereupon English punks fell in love with it.

Appears on: The Modern Lovers (Rhino)

• 270 Did not chart

He Stopped Loving Her Today
George Jones

W Bobby Braddock, Curly Putnam
P Billy Sherrill
R March '80 on Epic
DOGGED BY ALCOHOL problems, debt and a messy divorce, former country star Jones was set for a comeback after he left rehab in 1980. So he recorded one of his great heartbreak ballads, "Stopped Loving Her," a tune about a man whose devotion ends with his death. Jones' nuanced performance was a hit on the country charts and won him a Grammy.

Appears on: I Am What I Am (Epic/Legacy)

• 271 11 weeks; No. 3

Sloop John B
The Beach Boys

W Traditional, Brian Wilson
P Wilson
R March '66 on Capitol
WILSON GOT TURNED ON to the Bahamian folk song "The Wreck of the John B." by the Beach Boys' folk buff, Al Jardine. For the Boys' version, Wilson added elaborate vocals and Billy Strange's Beatlesque twelve-string guitar part. He also changed "This is the worst trip since I've been born" to "... I've ever been on" — a wink to acid culture. The single appeared on Pet Sounds after it sold a half-million copies in two weeks.

Appears on: Pet Sounds (Capitol)

• 272 16 weeks; No. 2

Sweet Little Sixteen
Chuck Berry

W Berry
P Leonard and Phil Chess
R Jan. '58 on Chess
BERRY UNDERSTOOD kids, America, the power of rock & roll and guitar. "Sweet Little Sixteen" celebrated them all — an ode to an underage rock fan in high-heeled shoes that included a roll call of cities around the country. The Beach Boys fitted the song with new words and called it "Surfin U.S.A."; in a rare example of justice served, Berry threatened to sue and won writing credit.

Appears on: The Anthology (Chess)

• 273 16 weeks; No. 3

Something
The Beatles

W George Harrison
P George Martin
R Oct. '69 on Apple
HARRISON WROTE "Something" near the end of the White Album sessions; it was too late to squeeze it onto the disc, so he gave it to Joe Cocker. The Beatles cut a new version the next year with a string section; soon it became a standard recorded by everyone from Frank Sinatra to Ray Charles.

Appears on: Abbey Road (Apple)

• 274 15 weeks; No. 5

Somebody to Love
Jefferson Airplane

W Darby Slick
P Rick Jarrard
R Feb. '67 on RCA
"SOMEBODY" WAS ABOUT "doubt and disillusionment," according to Darby Slick, who wrote it while in the Great Society. His sister-in-law Grace brought it to the Airplane, whose hard-edged rendition became one of the San Francisco scene's first hits.

Appears on: 8Surrealistic Pillow (RCA)

NO. 275
Born in the U.S.A.
Bruce Springsteen

17 weeks; No. 9

W Springsteen
P Springsteen, Jon Landau, Chuck Plotkin, Steve Van Zandt
R June '84 on Columbia
BEFORE IT BECAME THE CENterpiece of Springsteen's biggest album, "U.S.A." was an acoustic protest song meant for Nebraska. But when Springsteen revived it with the E Street Band, Roy Bittan came up with a monster synth riff and Max Weinberg hammered out a beat like he was using M-80s for drumsticks. "We played it two times, and our second take is the record," Springsteen said. "That thing in the end with all the drums, that just kinda happened."

Appears on: Born in the U.S.A. (Columbia)

• 276 15 weeks; No. 1

I'll Take You There
The Staple Singers

W Alvertis Isbell
P AI Bell
R June 72 on Stax
IT WAS A GOOD DAY'S work at Stax in 1971 when the Staples cut both "Respect Yourself" and "I'll Take You There." The latter — a funk vamp promising heavenly or sexual devotion, depending on your perspective — was "written on the spot," said bassist David Hood.

Appears on: Bealtitude: Respect Yourself Stax)

• 277 Non-single

Ziggy Stardust
David Bowie

W Bowie
P Ken Scott, Bowie
R June '72 on RCA
"I WASN'T AT ALL SURprised 'Ziggy Stardust' made my career," Bowie told ROLLING STONE. "I packaged a totally credible plastic rock star." This glam power ballad told the story of his most famous alter ego over Mick Ronson's flash guitars.

Appears on: The Rise and Fall of ziggy stardust and the Spiders From Mars (Virgin)

• 278 8 weeks: No. 71

Pictures of You
The Cure

W Robert Smith, Simon Gallup, Boris Williams, Porl Thompson, Roger
O'Donnell, Lol Tolhurst P Smith, David M. Allen R May '89 on Elektra
"MOST LOVE SONGS ARE just calculated attempts at commercial exploitation. They're not anything to do with love as I understand it," said Cure leader Smith. After the relatively cheerful pop songs of Kiss Me, Kiss Me, Kiss Me, he wanted to write the Cure's heaviest songs yet: With this epic of cascading synths and broken dreams, he succeeded.

Appears on: Disintegration (Elektra)

• 279 13 weeks; No. 1

Chapel of Love
The Dixie Cups

W Jeff Barry, Ellie Greenwich, Phil Spector
P Jerry Leiber, Mike Stoller, Barry, Greenwich
R June '64 on Red Bird
SPECTOR TOOK TWO cracks at recording "Chapel," but the Remettes' and Crystals' versions left the producer flat, so Leiber and Stoller bought the rights to the song for New Orleans novices the Dixie Cups. Sisters Rosa Lee and Barbara Ann Hawkins and cousin Joan Marie Johnson's hopeful harmonies were just what the nuptial ditty called for.

Appears on: The Complete Red Bird Recordings (Varèse Sarabande)

• 280 16 weeks; No. 3

Ain't No Sunshine
Bill Withers

W Withers
P Booker T. Jones
R July '71 on Sussex
WHEN THIRTY-ONE'YEAR' old Withers recorded "Sunshine," his first chart hit, he was still working at a factory making toilet seats for 747S. Withers intended to write more lyrics for the part of the song where he repeats the phrase "I know" twenty-six times, but the other musicians told him to leave it. "I was this factory worker puttering around," Withers said. "So when they said to leave it like that, I left it."

Appears on: Lean on Me: The Best of Bill Withers (Columbia/Legacy)

• 281 17 weeks; No. 1

You Are the Sunshine of My Life
Stevie Wonder

W Wonder
P Wonder
R Nov. '72 on Tamla
WONDER ORIGINALLY wrote and recorded "Sunshine" while he was finishing his 1972 LP Music of My Mind, but he decided to hang on to it until his next album, Talking Book. He had written the song for future wife Syreeta Wright, who had met Wonder at the Motown offices, where she was a secretary. The cut was Talking Book's second Number One hit, following "Superstition."

Appears on: Talking Book (Tamla)

• 282 19 weeks: No. 7

Help Me
Joni Mitchell

W Mitchell
P Mitchell
R Feb. '74 on Asylum
"I HAD ATTEMPTED TO play my music with rock & roll players," Mitchell said in 1979. "They'd laugh, 'Aww, isn't that cute? She's trying to tell us how to play.'" It took a jazz group-Tom Scott's L.A. Express — to realize her biggest hit, a swooning confession of love trouble.

Appears on: Court and Spark (Elektra)

• 283 25 weeks; No. l

Call Me
Blondie

W Giorgio Moroder, Deborah Harry
P Moroder
R Feb. '80 on Chrysalis
THE MAIN REASON BLONdie recorded "Call Me" for the Richard Gere flick American Gigolo was to work with their hero, Euro-disco producer Moroder. "He was the king of disco," Harry said. "And we were still the anti-establishment invaders."

Appears on: Best of Blondie (Chrysalis)

• 284 Non-single

(What's So Funny 'Bout) Peace Love and Understanding?
Elvis Costello and the Attractions

W Nick Lowe
P Lowe
R Jan. '79 on Columbia
"WHAT'S so FUNNY" WAS written by Lowe, Costello's pal and producer. The original, by Lowe's country-rock band Brinsley Schwarta, was mellow and cute, but Costello snarls the song intensely enough to make the title question seem brand-new, with thundering drums and droning piano. It's like Abba playing punk rock.

Appears on: Armed Forces (Rhino)

• 285 Did not chart

Smoke Stack Lightning
Howlin' Wolf

W Chester Burnett
P Leonard and Phil Chess, Willie Dixon
R March '56 on Chess
THIS WAS BASED ON Wolf's "Crying at Daybreak," recorded years earlier and itself modeled on Charley Patton's "Moon Going Down." The inspiration, said Wolf, was watching trains cut through the night: "We used to sit out in the country and see the trains go by, watch the sparks come out of the smokestack. That was smokestack lightning."

Appears on: His Best (Chess)

• 286 Did not chart

Summer Babe
Pavement

W Stephen Malkmus
P Malkmus, Scott Kannberg
R April '92 on Drag City
MALKMUS AMD KANNberg, two guitar dudes from Northern California, cut this tender pop tune about a summer crush in the garage studio of their hippie drummer, Gary Young. "We didn't know how to record," Malkmus confessed. "We used reverb on the drums — the cheapest, worst reverb ever." According to Malkmus, he was trying to sound like Lou Reed, singing about "sad boy stuff." Appears on: slanted and Enchanted (Matador)

• 287 16 weeks; No. 4

Walk This Way
Run-DMC

W Steven Tyler, Joe PerryP Rick Rubin, Russell Simmons
R May '86 on Profile
QUEENS RAPPERS RUN' DMC pioneered the use of rock guitar in hip-hop with the tracks "Rock Box" and "King of Rock." But this Aerosmith cover — with help from Tyler and Perry — was a crossover smash, establishing a blueprint for scores of metal-rap mash-ups. For Run, though, it was just another day rhyming. "I made that record because I used to rap over it when I was twelve," he told ROLLING STONE. Appears on: Raising Hell (Arista)

• 288 17 week; No. 23

Money (That's What I Want)
Barren Strong

W Berry Gordy, Janie Bradford
P Gordy
R Jan.'60 on Anna
THE SESSIONS FOR "Money" lasted more than forty takes and sev-eral days, but Gordy didn't care: It was the first song cut in his Hitsville USA studio, and there were no bills to pay. With a howling vocal over a live band, this was gutbucket R&B, far more raw than the Motown hits that followed. But when it became Gordy's first hit, it provided the money to pay for them.

Appears on: Motown: The Classic years (Polygram)

• 289 10 weeks; No. 1

Can't Buy Me Love
The Beatles

W John Lennon, Paul McCartney
P George Martin
R March '64 on Capitol
"'CAN'T BUY ME LOVE' is my attempt to write [in] a bluesy mode," McCartney said. He wrote it while the band was doing concerts in Paris for eighteen days straight, two or three shows a day. The single was released a few months later, at the height of Beatlemania: When it hit Number One, the band occupied all five top positions on the American charts.

Appears on; A Hard Day's Night [Capitol)

• 290 15 weeks: No. 51

Stan
Eminem featuring Dido

W Marshall Mathers, D. Armstrong, P. Herman
P Eminem, the 45 KingR March '00 on Aftermath
"STAN" WAS EMINEM'S scariest song, because for once the horror seemed real. Anchored by a sample from Dido's "Thank You" (which became a hit itself), it followed an obsessed fan who acts out Em's fantasies. "He's crazy for real, and he thinks I'm crazy, but I try to help him at the end of the song," said Eminem. "It kinda shows the real side of me."

Appears on: The Marshall Matters LP (Aftermath/Interscopc)

• 291 15 weeks; No. 2

She's Not There
The Zombies

W Rod Argent
P Ken Jones
R Oct. '64 on Parrot
WITH COLIN BLUNstone's gauzy vocals and Argent's scampering piano, "She's Not There" was one of the British Invasion's jazziest singles. Between falling for Elvis and the Beatles, Argent discovered Miles Davis, who became a subconscious influence. "When I wrote and played 'She's Not There,' the last thing on my mind was jazz or Miles," says Argent, "but those things filtered through."

Appears on: British Invasion: 1963-1967 (Hip-0)

• 292 14 weeks; No. 23

Train in Vain
The Clash

W Mick Jones, Joe Strummer
P Guy Stevens
R Dec. '79 on Epic
"TRAIN IN VAIN" WAS the hidden track at the end of the Clash's London Calling, unlisted on the sleeve or on the label. It didn't even have a proper title; fans initially assumed it was called "Stand by Me," after the chorus. But it became a surprise U.S. hit, with hard-charging drums and weary vocals from guitarist Jones, who wrote the bitter love song in his grandmother's flat.

Appears on: London Calling (Epic)

• 293 19 weeks; No. 11

Tired of Being Alone
Al Green

W Green
P willie Mitchell, Green
R July'71 on Hi
AFTER A SHOW IN Detroit, Green woke up before dawn the next day at a motel in rural Michigan with a song forming in his mind. Half an hour later, he had "Tired of Be-ing Alone." But Mitchell wasn't much interested in Green's own material. "I was toting my song around in my pocket for days on end, saying, 'Hey, I got a song.'" Green said. "Finally, at the end of the session, I said, 'Well, I still got a song.'"

Appears on: Greatest Hits (Capitol)

• 294 12 weeks; No. 15

Black Dog
Led Zeppelin

W Jimmy Page, Robert Plant, John Paul Jones
P Page
R Nov. 71 on Atlantic
A DOG MEANDERING THE grounds outside Zeppelin's studio in rural England inspired the title, but the subject was honeydripping sex. "Things like 'Black Dog' are blatant let's-do-it-in-the' bath-type things," Plant said, "but they make their point."

Appears on: Led/Zeppelin IV (Atlantic)

• 295 6 weeks; No.48

Street Fighting Man
The Rolling Stones

W Mick Jagger, Keith Richards
P Jimmy Miller
R Aug. '68 on London
THE STONES' MOST political song came about after Jagger went to a March 1968 antiwar rally at London's U.S. embassy, with mounted police wading into a crowd of 25,000. The distorted drone was built on acoustic guitars pumped through a mono cassette recorder.on: Begajars Banquet (ABKCO)

• 296 Did not chart

Get Up, Stand Up
Bob Marley and the Wallers

W Bob Marley, Peter Tosh
P Chris Blackwell
R NOV. '75 on Island
THE SONG'S CHORUS ("Stand up for your right. . . /Don't give up the fight") sounds like a political anthem, which is how Amnesty International still employs it at rallies and concerts. But the lyrics are actual-ly rooted in Rastafarian theology, about not being pacified by promises of the afterlife. The Wallers, of course, were far from placated, especially singer Peter Tosh, who sings the firebreathing final verse.

Appears on: Legend (Island)

• 297 14 weeks; No. 1

Heart of Gold
Neil Young

W Young
P Elliot Mazer, Young
R Feb 72 on Reprise
BEFORE HE STARTED Harvest, in 1971, Young suffered a slipped disc and spent two years in and out of hospitals: "I couldn't physically play an electric guitar," he told ROLLING STONE. So he cut a collection of mellow tracks while he was in Nashville to appear on Johnny Cash's variety show, with a crew of local session players. The yearning "Heart of Cuold" is Young's only Number One hit.

Appears on: Harvest (Warner Bros.)

• 298 14 weeks; No. 24

One Way or Another
Blondie

W Deborah Harry, Nigel Harrison
P Mike Chapman
R Sept. '78 on Chrysalis
BY 1978, BLONDIE WERE stars in Europe and Asia, but they didn't blow up in the U.S. until Parallel Lines, their hit-packed third album.

"One Way or Another" was Harry's ode to obsessive lust, mixing the girl-group sound ot the Remettes with the punk attack of the Ramones.

Appears on: Parallel Linc. (Capitol)

• 299 14 weeks: No. 3

Sign 'O' the Times
Prince

W Prince
P Prince
R March '87 on Paisley Park
WHEN PRINCE BROKE with his longtime backing group the Revolution, he aborted an ambitious, eighteensong project called Dream factory. One of the songs he kept from those sessions served as the title track for what may be his best studio album, Sign 'O' the Times.

Appears on: Sign 'O" the Times (Warner Bros.)

NO. 300
-Like a Prayer
Madonna

16 weeks; No. 1

W Madonna, Patrick Leonard
P Madonna, Leonard
R March '89 on Sire
MADONNA SANG "LIKE A Prayer" in a voice full of Catholic angst and disco thunder. It was her big personal statement as she turned thirty and closed the book on her first marriage. "I didn't have the censors on me in terms of emotions or music," Madonna said. "I did take a lot more chances with this one, but obviously success gives you the confidence to do those things." The obligatory controversial video featured burning crosses, black lingerie and masturbation in church.

Appears on: Like a Prayer (Warner Bros.)

• 301 21 weeks; No. 1

Da Ya Think I'm Sexy?
Rod Stewart

W Stewart, Carmine Appice
P Tom Dowd
R Dec. 78 on Warner Bros.
IN THAT ROCK-DISCO moment that also yielded the Stones' "Miss You," Stewart's entry was a tale of lust at first sight with an irresistible hook. But that hook actually wasn't by Stewart and his collaborator, drummer Appice. It came from "Taj Mahal," by the master Brazilian songwriter Jorge Ben. After Ben won a lawsuit for plagiarism, royalties for the song went to UNICEF.

Appears on: Blondes Have More Fun (Warner Bros.)

• 302 18 weeks; No. 21

Blue Eyes Crying in the Rain
Willie Nelson

W Fred Rose
P Nelson
R July '75 on Columbia
NELSON HAD STARTED writing hits for Patsy Cline and others, but his own breakthrough was a cover of an old country standard written by Rose in 1945 and originally recorded by Roy Acuff. Delivered with Nelson's jazzsinger phrasing, it's the beating heart of Red Headed Stranger, his 1975 concept album about love and death in the Old West.

Appears on: Red Headed Stranger (Sony)

• 303 12 weeks; No. l

Ruby Tuesday
The Rolling Stones

W Mick Jagger, Keith Richards
P Andrew Loog Oldham
R Jan. '67 on London
AT A SESSION FOR "BEtween the Buttons" in November 1966, Richards drew this lyrical sketch of Linda Keith, his first serious girlfriend, and turned it into an uncharacteristically wistful ballad. Brian Jones played the recorder on the track, giving the song a madrigal feel. The countermelody was played by Bill Wyman, who fingered the strings on a cello while Richards bowed them.

Appears on: Between the Buttons (ABKCO)

• 304 Non-single

With a Little Help From My Friends
The Beatles

W John Lennon, Paul McCartney
P George Martin
R June '67 on Capitol
INTRODUCED AS FICtional crooner Billy Shears, Ringo Starr delivers his most charming vocals on this McCartney tune. "Ringo's got a great sentimental thing," MeCartney said.

"I suppose that's why we write these sorts of songs for him."

Appears on: Sgt. Pepper's Lonely Hearts Club Band (Apple/Capitol)

• 305 11 weeks; No. 10

Say It Loud — I'm Black and I'm Proud
James Brown

W Brown, Pee Wee Ellis
P Brown
R Sept. '68 on King
IN 1968, BROWN TRADED his processed 'do for an Afro and started writing songs like this anthem. But the real stars are Clyde Stubblefield on drums and the L.A. kids — who were mostly white and AsianAmerican — yelling "I'm black and I'm proud."

Appears on: 50th Anniversary Collection (UTV/Polydor)

• 306 Non-single

That's Entertainment
The Jam

W Paul weller
P Vic Coppersmith-Heaven, the Jam
R Nov. '80 on Polydor
THE JAM HAD A LONG run of U.K. hits with their mod guitar flash — but they were too defiantly British for U.S. success. The lads hit hardest with this acoustic lament, with Weller brooding over the heartaches of everyday working-class life. His songwriting technique? "Coming home pissed from the pub and writing That's Entertainment' in ten minutes."

Appears on: Sound Affects (Polygram)

• 307 2l weeks; No. 6

Why Do Fools Fall in Love
Frankie Lymon and the Teenagers

w Lymon, Morris Levy
P George Goldner
R Jan. '56 on Gee
FRANKIE LYMON WAS one of rock & roll's first teen prodigies — and one of its earliest tragedies. Lymon wrote and sang this hit as a thirteenyear-old Harlem kid. But the writing credit — and money — went to his label boss, Levy, an associate of the Genovese family. Lymon died a penniless heroin addict in 1968 at the age of twenty-five.

Appears on: The Best of Frankie Lymon and the Teenagers (Rhino)

• 308 21 weeks; No. 7

Lonely Teardrops
Jackie Wilson

W Berry Gordy, Gwen Gordy, Tyran Carlo
P Dick Jacobs
R Nov. '58 on Brunswick
ONE OF THF. FIRST HITS written by Motown founder Gordy, "Lonely Teardrops" set Wilson's pleading vocals over Latin rhythms. At a New Jersey casino in September 1975, Wilson collapsed from a heart attack onstage, in the middle of singing "Lonely Teardrops" — right at the line "My heart is crying." He sank into a coma and died in 1984.

Appears on: The Greatest Hits of Jackie Wilson (Brunswick)

• 309 28 weeks; No. l

What's Love Got To Do With It
Tina Turner

W Terry Britten, Graham Lyle
P Britten
R June '84 on Capitol
"I CAN'T SING THESE. They're wimpy," Turner said when her manager brought in a batch of new songs. But in the studio, Britten offered to rough up the tune, plugged in his electric guitar and got Turner excited. The result: Tina's first Number One.

Appears on: Private Dancer (Capitol)

• 310 10 weeks; No. 52

Iron Man
Black Sabbath

W Black Sabbath
P Roger Bain
R Feb. '71 on Warner
WHEN AN INDUSTRIAL accident left guitarist Tony lommi without the tips of two of his fingers, it seemed like death for Black Sabbath. But he fashioned replacements out of pieces of a bottle and developed a playing style that would yield the riff that would define heavy metal forever.

Appears on: Paranoid (Warner Bros.)

• 311 26 weeks; NO. l

Wake Up Little Susie
The Everly Brothers

W Felice Bryant, Boudleaux Bryant
P Archie Blever
R Sept. '57 on Cadence
THOUGH IT SOUNDS quaint today, "Wake Up Little Susie," the tale of a teen couple who fall asleep at a drive-in, stirred up controversy in 1957. The song was banned in Boston but became the Everlys' first Number One. In 2000, when candidate George W. Bush was asked by Oprah Winfrey what his favorite song was, he said, "'Wake Up Little Susie,' by Buddy Holly."

Appears on: The Best of the every Brothers (Rhino)

• 312 13 weeks; No. 7

In Dreams
Roy Orbison

W Joe Melson, Orbison
P Fred Foster
R Feb. '63 on Monument
ORBISON CLAIMED THE lyrics came to him in a dream; he wrote the music once he woke up. It was a Top Ten hit in the U.S. but even bigger in England, where it stayed on the charts for months. The track made him so popular that Orbison toured the U.K. with an up-and-coming opening act called the Beatles. Roy's reaction: "I've never heard of them." Next, he'd tour Australia with the Rolling Stones.

Appears on: For the Lonely: 18 Greatest Hits, (Rhino)

• 313 Did not chart

I Put a Spell on You
Screamin' Jay Hawkins

W Screamin' Jay Hawkins, Herb Slotkin
P Arnold Maxin
R Sept. '56 on OKeh
FORMER BOXER JALACY J. Hawkins got loaded on muscatel before shrieking out the hoodoo of "I Put a Spell on You," and it took a healthy swig of J&B for him to recreate his studio performance onstage, where he climbed out of a coffin. The stage prop was DJ Alan Freed's brainstorm. When Hawkins resisted, Freed peeled off three hundred-dollar bills; "I said, 'Show me the coffin,'" the singer quipped.

Appears on: Voodoo live (Rhino)

• 314 Did not chart

Comfortably Numb
Pink Floyd

W David Gilmour, Roger Waters
P Bob Ezrin
R Dec. 79 on Columbia
WATERS BASED ONE OF the saddest drug songs ever written on a sleazy Philadelphia doctor who injected him with tranquilizers before a gig when he was suffering from hepatitis. "That was the longest two hours of my life," Waters said. "Trying to do a show when you can hardly lift your arm."

Appears on: The Wall (Capitol)

• 315 10 weeks; No. 15

Don't Let Me Be Misunderstood
The Animals

W Bennie Benjamin, Sol Marcus, Gloria Caldwell
P Mickie Most
R Jan. '65 on MGM
THE ANIMALS' REWORKing of this song radically departed from Nina Simone's orchestrated downtempo version. "It was never considered pop material, but it somehow got passed on to us and we fell in love with it immediately," recalled Eric Burdon.

Appears on: Retrospective (ABKCO)

• 316 Non-single

Wish You Were Here
Pink Floyd

W David Gilmour, Roger Waters
P Pink Floyd
R Sept. 75 on Columbia
WHILE PINK FLOYD were recording this elegy for burned-Out exfrontman Syd Barrett, he mysteriously appeared in the studio in such bad shape nobody recognized him. "He stood up and said, 'Right, when do I put my guitar on?'" keyboardist Rick Wright recalled. "And of course, he didn't have a guitar with him. And we said, 'Sorry, Syd, the guitar's all done.'"

Appears on: Wish You Were Here (Capitol)

• 317 Did not chart

Many Rivers to Cross
Jimmy Cliff

W cliff
P Cliff
R Dec. '69 on A&M
WHEN JAMAICAN FILMmaker Percy Henzell heard "Many Rivers to Cross," a ballad Jimmy Cliff wrote in 1969, he offered Cliff the lead in his film The Harder They Come. The song, a hymn about struggle and perseverance, summed up the outlaw mood of early reggae. On the strength of his songs and acting in the film, Cliff became one of reggae's first international stars.

Appears on: wonderful World, Beautiful People (A&M)

• 318 Did not chart

Alison
Elvis Costello

W Costello
P Nick Lowe
R Nov. '77 on Columbia
SOME PEOPLE THINK "Alison" is a murder ballad. "It isn't," Costello told ROLLING STONE in 2002. "It's about disappointing somebody.

It's a thin line between love and hate, as the Persuaders sang." Contrary to myth, the backup band was not Huey Lewis and the News.

Appears on: My Aim Is True (Rhino)

• 319 13 weeks; No. 7

School's Out
Alice Cooper

W Michael Brace, Glen Buxton, Cooper, Dennis Dunway, Neal Smith
P Bob Ezrin
R May '72 on Warner Bros.
"THE FEW MINutes waiting for that final school bell to ring are so intense that when it happens, it's almost orgasmic," said Cooper. Inspired by a Forties Dead End Kids film series, the tune will live for as long as kids really, really hate school.

Appears on: school's Out (Warner Bros.)

• 320 Non-single

Heartbreaker
Led Zeppelin

W Jimmy Page, Robert Plant, John Bonham, John Paul Jones
P Page
R Oct. '69 on Atlantic
"HEARTBREAKER," LIKE much of Led Zeppelin II, was recorded hit-and-run style on Zep's 1969 American tour. The awesome swagger captures the debauched mood of the band's wild early days in L.A. "Nineteen years old and never been kissed," Plant recalled in 1975. "I remember it well. It's been a long time. Nowadays we're more into staying in our room and reading Nietzsche."

Appears on: Led Zeppelin II (Atlantic)

• 321 Non-single

Cortez the Killer
Neil Young

W Young
P Young, David Briggs
R Nov. '75 on Reprise
"IT'S WEIRD," YOUNG mused to ROLLING STONE in 1975. "I've got all these songs about Peru, the Aztecs and the Incas. Timetravel stuff." Young sang about his longtime fascination with native-American cultures in "Cortez the Killer." Over a slow, rambling Crazy Horse guitar jam, he mourns the Aztec civilisation destroyed by the arrival of Spanish conquistadors.

Appears on: Zuma (Reprise)

• 322 Did not chart

Fight the Power
Public Enemy

W chuck D, Eric Sadler, Hank Shocklee, Keith Shocklee
P Sadler, Hank Shocklee
R June '89 on Def Jam
THE OPENING CREDITS of Spike Lee's 1989 Do the Right Thing feature a masterpiece from the Bomb Squad production team: a dissonant call to revolution, with a title borrowed from an Isley Brothers funk hit and a groove lifted from the JB's' 1972 B side "Hot Pants Road." Public Enemy direct their rage at Elvis Presley, John Wayne and, er, Bobby McFerrin.

Appears on: fear of a Black Planet (Def Jam)

• 323 Did not chart

Dancing Barefoot
Patti Smith Group

W Smith and Ivan KralP Todd Rundgren
R May '79 on Arista
SMITH STARTED AS A poet and ROLLINGU STONE writer before finding fame as a New York punk priestess. "Dancing Barefoot" is her mystical ode to sexual rapture. "I think sex is one of the five highest sensations one can experience," she said in 1978. "A very high orgasm is a way of communion with our creator." She added that she masturbated to her own album cover photo, as well as to the Bible.

Appears on: wave (Arista)

• 324 13 weeks; No. 1

Baby Love
The Supremes

W Brian Holland, Lament Dozier, Eddie Holland
P Brian Holland, Dozier
R Sept. '64 on Motown
DIANA ROSS WASN'T the strongest vocalist in the Supremes, but as the Motown production team discovered, when she sang in a lower register, her voice worked its sultry magic. When this song was finished, Berry Gordy thought it wasn't catchy enough and sent the group back into the studio. The result: the smoky "Oooooh" right at the start.

Appears on: The Ultimate Collection (Motown)

NO. 325
Good Lovin'
The Young Rascals

14 weeks; No. 1

W Rudy Clark, Arthur Resnick
P Tom Dowd, Arif Mardin
R March '66 on Atlantic
A SOULFUL NEW YORK BAR band infected by the exuberance of the Beatles, the Rascals opened their cover of the Olympics' "Good Lovin'" with a simple hook: singer Felix Cavaliere's "One! Two! Three!" count-off. Their jacked-up live rendition was captured by co-producer Dowd, who urged them not to mess with it. "We weren't too pleased with our performance," Cavaliere admitted. "It was a shock to us when it went to the top of the charts." Appears on: The Very Best of the Rascals (Rhino)

• 326 9 weeks; No. 15

Get Up (I Feel Like Being a) Sex Machine
James Brown

W Brown, Bobby Byrd, Ron Lenhoff
P Brown
R July '70 on King
ENGINEER LENHOFF GOT co-writing credit for this funk monument, mostly because he got out of bed and drove five hours to Nashville to record this duet with ex-Famous Flame Byrd, which Brown insisted must be cut pronto.

Appears on: 50th Anniversary Collection (UTV/Polydor)

• 327 12 weeks; No. 11

For Your Precious Love
Jerry Butler and the Impressions

W Arthur Brooks, Jerry Butler
P Calvin Carter
R June '58 on Falcon
THE LYRICS WERE DRAWN verbatim from a poem Butler had written in high school. The spiritual tenor of the vocals came from the Impressions church roots — But1er and Curtis Mayfield had suns together in the Northern Jubilee Gospel Singers.

Appears on: Greatest Hits (Curb)

• 328 Non-single

The End
The Doors

W John Densmore, Robbie Krieger, Ray Manzarek, Jim Morrison
P Paul Rothchild
R March '67 on Elektra
MORRISON HAD WORKED on a student production of Oedipus Rex at Florida State. But his exploration of its sexual taboos took on bold new life in the eleven minutes of "The End," which evolved during the Doors' live shows at LA.'s Whisky-A-Go-Go. "Every time I hear that song, it means something else to me," Morrison said in 1969. "It could be goodbye to a kind of childhood."

Appears on: The Doors (Elektra)

• 329 16 weeks; No. 12

That's the Way of the World
Earth, Wind and Firs

W Maurice White, Verdine White, Charles Stepney
P Maurice White
R March '75 on Columbia
MAURICE WHITE HAD A spiritual awakening during a stint drumming for John Coltrane: "Coltrane didn't say much, but when he did, I heard him." White brought inspirational uplift to this R&B hymn. As he said, "I believe in goodness, I believe in truth and I believe in love." His bassist brother Verdine added, "We don't drink or smoke or none of that shit."

Appears on: Thai's the Way of the World (Columbia)

• 330 14 weeks; No. 52

We Will Rock You
Queen

W Brian May, Mike Stone
P Queen
R Oct. '77 on Elektra
SID VICIOUS ONCE ASKED Queen singer Freddie Mercury if he was "bringing ballet to the masses." Mercury's reply: this foot-stomping, conquering-army smash.

Appears on: News of the World (Hollywood)

• 331 20 weeks; No. 18

I Can't Make You Love Me
Bonnie Raitt

W Mike Reid, Alien Shamblin
P Don Was, Raitt
R Nov. '91 on Capitol
RAITT WAS A SEVENTIES blues prodigy who didn't break through until 1989's Nick of Time. Two years later came this cleareyed song about love gone cold. Co-author Reid was a defensive tackle for the Cincinnati Bengals before heading off to Nashville. "Of all the songs in my career, that one is the greatest gift," Raitt said. "I think it stands among the best songs ever written."

Appears on: Luck of the Draw (Capitol)

• 332 8 weeks; No. 39

Subterranean Homesick Blues
Bob Dylan

W Dylan
P Tom Wilson
R March '65 on Columbia
"IT'S FROM CHUCK Berry, a bit of 'Too Much Monkey Business' and some of the scat songs of the Forties," Dylan said recently about the torrential pace of this two-and-a-half-minute cautionary tale about drugs, paranoia and disenfranchisement. John Lennon once said of the track that it was so captivating it made him wonder how he could ever compete.

Appears on: Bringing It All Back Home (Sony)

• 333 15 weeks; No. 3

Spirit in the Sky
Norman Greenbaum

W Greenbaum
P Erik Jacobsen
R Feb. '70 on Reprise
GREENBAUM'S "SPIRIT IN the Sky" was unusual at the time for its crunchy guitar sound, which came when a friend built a small fuzz box right into the body of Greenbaum's Fender Telecaster, as well as for its subject matter: Jesus and death. "I'm just some Jewish musician who really dug gospel music," Greenbaum said. "I decided there was a larger Jesus gospel market out there than a Jehovah one."

Appears on: Spirit in the Sky (Varese)

• 334 8 weeks; No. 28

Wild Horses
The Rolling Stones

W Mick Jagger, Keith Richards
P Jimmy Miller
R April 71 on Rolling Stones
RICHARDS WROTE THIS acoustic ballad about leaving his wife Anita and young son Marion as the Stones prepared for their first American tour in three years. Stones sidekick Ian Stewart refused to play the minor chords required, so Memphis musical maverick Jim Dickinson filled in on upright piano at the Muscle Shoals, Alabama, recording session for Sticky Fingers.

Appears on: Sticky Fingers (Virgin)

• 335 Non-single

Sweet Jane
The Velvet Underground

W Lou Reed
P The Velvet Underground, Shel Kagan, Geoffrey Haslam
R Aug. 70 on Cotillion
"LOADED" WAS MADE AS the band was falling apart, and, after Reed quit, a wistful coda was chopped out of this song. "How could anyone be that stupid?" Reed asked RS in 1987. "If I could have stood it, I would have stayed with them and showed them what to do." For years, the only available version of the coda was on the 1969 live LP, but the full "Jane" appears on recent reissues.

Appears on: loaded (Fully Loaded Edition) (Rhino)

• 336 17 weeks; No. 10

Walk This Way
Aerosmith

W Steven Tyler, Joe Perry

P Jack Douglas

R Dec. '76 on Columbia

THE INSPIRATION? A Mel Brooks gag from Young Frankenstein. When they saw the film on a late-night break from the studio, they laughed so hard that Tyler wrote this the next day. Said Tyler, "It's all about a fantasy of older girls getting in my pants."

Appears on: Toys in the Attic (Sony)

• 337 25 weeks; No. 1

Beat It
Michael Jackson

W Jackson

P Quincy Jones

R Dec. '82 on Epic

"I WANTED TO WRITE the type of rock song that I would go out and buy," said Jackson, "but also something totally different from the rock music I was hearing on Top Forty radio." The result was a throbbing dance single with a watch-my-fingers-fly guitar solo provided by Eddie Van Halen.

Appears on: Thriller(Epic)

• 338 13 weeks: No. 10

Maybe I'm Amazed
Paul McCartney

W McCartney

P McCartney

R April '70 on Apple

"MAYBE I'M AMAZED" first appeared on McCartney, which Paul made single-handedly (Linda helped with the harmonies) as the Beatles were dissolving. McCartney dedicated it to "me and Linda with the Beatles breaking up. Maybe I'm amazed at what's going on, maybe I'm not." The song's biggest success came in 1977, when a live version with Wings went to the Top Ten.

Appears on: McCartney (Capitol)

• 339 12 weeks: No. 1

You Keep Me Hangin' On
The Supremes

W Brian Holland, Lamont Dozier, Eddie Holland

P Brian Holland, Dozier

R Oct. '66 on Motown

IT STARTS WITH A STUTtering guitar line that sounds like an SOS; the distress call gets louder as Diana Ross sings about being trapped in a dead-end relationship. Holland-Dozier-Holland had deliberately set out to write a rock song for the Supremes; in 1968, heavy rockers Vanilla Fudge realized that dream with a Top Ten cover.

Appears on: The Ultimate Collection (Motown)

• 340 Non-single

Baba O'Riley
The Who

W Pete Townshend

P Glyn Johns, the Who

R Aug. '71 on MCA

"BABA O'RILEY" (A.K.A. "Teenage Wasteland") expanded the Who's power-trio sound with synthesizer — a futuristic move in 1971. The song takes its name both from Townshend's spiritual guru, Meher Baba, and minimalist composer Terry Riley, whose work inspired the track's repetitive electronic textures. The Irish fiddle solo at the end, though, was all Keith Moon's idea.

Appears on: Who's Next (MCA)

• 341 Did not chart

The Harder They Come
Jimmy Cliff

W Cliff

P Cliff

R March 75 on Mango

BEFORE THIS SONG, CUFF had already won acclaim: Bob Dylan lauded his 1969 single "Vietnam" as "the best protest song ever written." But Cliff became an international star with this gospel tale of eternal rebellion, from the movie of the same name.

Appears on: The Harder They Come (Island)

• 342 14 weeks; No. 1

Runaround Sue
Dion

W Dion DiMucci, Ernie Maresca

P Gene Schwanz

R Sept. '61 on Laurie

"'RUNAROUND SUE' WAS created at a neighborhood party," said Dion. It sounds like it. This bluesy doowop single was Dion's only Number One. FYI: For forty-one years, he's been married to his high school girl, Susan — the real-life runaround Sue.

Appears on: Runaround Sue (Capitol)

• 343 19 weeks; No. 17

Jim Dandy
LaVern Baker

W Lincoln Chase

P Ahmet Ertegun, Jerry Wexler

R Dec. '56 on Atlantic

BAKER WAS A CHICAGO singer with a pedigree — her aunt was blues singer Memphis Minnie. Her big, sexy voice helped usher in the rock era on songs such as "Soul on Fire." And when white covers outsold her originals, she was so infuriated she wrote her congressman and even filed a lawsuit (neither worked). The swinging "Jim Dandy" was one of her sweetest and biggest hits.

Appears on: Soul on Fire: The Best of LaVern Baker (Atlantic)

• 344 weeks; No. 12

Piece of My Heart
Big Brother and the Holding Company

W Bert Berns, Jerry Ragovoy

P John Simon

R Aug. '68 on CBS

THE ORIGINAL WAS SUNG by Erma Franklin, Aretha's sister. "Erma's 'Piece of My Heart" had a delicacy and a sense of mystery that was just beyond us," said guitarist Sam Andrew. But what Big Brother did have was a raw, fearless singer named Janis Joplin.

Appears on: Cheap Thrills (Columbia)

• 345 15 weeks; No. 22

La Bamba
Ritchie Valens

W William Clauson

P Bob Keane

R Oct. '58 on Del-Fi

VALENS' VERSION OF Mexican folk song "La Bamba" was just a B side to his hit "Donna." Then the seven-teen-year-old died in the same plane crash that killed Buddy Holly and the Big Bopper. Right before his fatal tour, he bought his mother a house.

Appears on: The Ritchie Valens Story (Rhino)

• 346 24 weeks; No. 6

California Love
Dr. Dre and 2Pac

W Joe Cocker, Dr. Dre, Chris Stainton,

Roger Troutman, Larry Troutman, 2Pac

P Dr. Dre

R Feb. '96 on Death Row

WHEN TUPAC SHAKUR left jail in October 1995 after a sexual-assault conviction, Dre had a hit ready for him: a slice of West Coast funk, built around a Joe Cocker sample and a vocal from Zapp singer Roger Troutman. "I don't want it to be about violence," aPac said seven months before he was shot dead. "I want it to be about money."

Appears on: Greatest Hits (Death Row)

• 347 Non-single

Candle in the Wind
Elton John

W John, Bernie Taupin

P Gus Dudgeon

R Oct. 73 on MCA

JOHN'S MARILYN MONroe tribute was a U.K. hit in 1973, but in the U.S., the single release was canceled when DJs began playing "Bennie and the Jets" instead.

Appears on: Goodbye yellow Brick Road (Island)

• 348 20 weeks; No. 6

That Lady (Part 1 and 2)
The Isley Brothers

W Rudolph Isley, Ronald Isley, O'Kelly Isley,

Ernie Isley, Marvin Isley, Chris Jasper

P The Isley Brothers

R July '73 on T-Neck

IN 1969, THE ISLEYS added younger brothers Ernie and Marvin and brother-in-law Chris Jasper, who had all been put through music school by the older brothers. Ernie repaid the debt with a spiraling guitar solo on "That Lady" reminiscent of the days when Jimi Hendrix was cutting sides with the brothers in the mid-1960s.

Appears on: The Essential Isley Brothers (Legacy)

• 349 16 weeks: No. 10

Spanish Harlem
Ben E. King

W Phil Spector, Jerry Leiber

P Mike Stoller, Leiber

R Dec. '60 on Atco

KING GREW UP MERE blocks from the New York hood that provided this song's setting. The singer had just split from doo-wop superstars the Drifters and was eager to make an auspicious solo debut. He insisted on cutting "Spanish Harlem," a rare collaboration between Spector and Leiber, two titans of teen pop. Spector later claimed that this was Lenny Bruce's favorite song.

Appears on: The very Best of Ben E. King (Rhino)

NO. 350
The Loco-Motion
Little Eva

16 weeks; No. 1

W Gerry Goffin, Carole King

P Goffin R June '62 on Dimension

RIGHT PLACE, RIGHT TIME: AT seventeen, Eva Boyd was hired to baby-sit King and Goffin's newborn during recording sessions. One day they asked her to help cut a demo of "The Loco-Motion." Music publisher Don Kirshner liked it so much, he made it the first single on his Dimension label. "There never was a dance called the loco-motion until after it was a hit," King said. "Everyone said, 'How does this dance go?' So Little Eva had to make up a dance."

Appears on: The Loco-Motion (Rhino)

• 351 24 weeks; No. 1

The Great Pretender
The Platters

W Buck Ram

P Ram

R Dec. '55 on Mercury

HEIRS TO THE SMOOTH crooning style of the Ink Spots and the Mills Brothers, the Platters were one of the Fifties' quintessential ballad groups. "The Great Pretender" was the first song by an R&B vocal group to top the pop charts, heralding the arrival of doo-wop. Ram, a titanic figure in doowop (he also co-wrote "Only You" and "Twilight Time"), was pushing fifty when the song hit.

Appears on: The Magic Touch: An Anthology (Mercury)

• 352 30 weeks; No. 1

All Shook Up
Elvis Presley

W Otis Blackwell, Presley

P Steve Sholes

R March '57 on RCA

BLACKWELL'S FRIEND songwriter Al Stanton walked into his office one day shaking a bottle of Pepsi and challenged Blackwell to write a song called "All Shook Up." Presley fell in love with the tune the first time he heard it and gave it the same freewheeling charm he had brought to Blackwell's "Don't Be Cruel," even reprising the guitar-back-slapping trick he'd used on that track. It worked: The song went on to sell 2 million copies.

Appears on: Elvis 30 #1 Hits (RCA)

• 353 26 weeks; No. 2

Tears in Heaven
Eric Clapton

W Clapton, Will Jennings

P Russ Titelman

R Jan. '92 on Duck/Reprise

ON MARCH 20TH, 1991, four-year-old Conor Clapton died in a fall from an apartment window in New York. His father wrote the heart-rending "Tears in Heaven" and "The Circus Left Town" in his son's memory. "They're sweet little songs, almost like folk songs, and I feel the need to have people hear them," he told ROLLING STONE. "Tears" was the centerpiece of his 1992 MTV Unplugged set.

Appears on: "Rush" Soundtrack (Warner Bros.)

• 354 Did not chart

Watching the Detectives
Elvis Costello

W Costello

P Nick Lowe

R Nov. '77 on Columbia

IN THE SUMMER OF 1977, Costello was still an aspiring songwriter when he took the Clash's debut back to his London flat and "listened to it for thirty-six hours straight," he recalled. "And I wrote 'Watching the Detectives.' A clever but furious burst of cynicism, the song merges punk aggression with noir menace, as Costello snarls about a lover who'd rather watch TV.

Appears on: My Aim is True (Rhino)

• 355 14 weeks; No. 2

Bad Moon Rising
Creedence Clearwater Revival

W John Fogerty

P Fogerty

R April '69 on Fantasy

WITH VIOLENCE AT home and a war abroad, there really was a bad moon on the rise. "Bad Moon Rising" had one of OCR's catchiest swamp-rock guitar riffs.

Appears on: Green River (Fantasy)

• 356 26 weeks; No. 1

Sweet Dreams [Are Made of This]
Eurhythmies

W Annie Lennox, Dave Stewart

P Stewart

R April '83 on RCA

ONE OF THE CLASSIC early-Eighties synth-pop hits, "Sweet Dreams" was a deceptively catchy single about S&M — from two former lovers.

Appears on: Sweet Dreams (RCA)

• 357 Non-single

Little Wing
The Jimi Hendrix Experience

W Hendrix

P Chas Chandler

R Feb. '68 on Reprise

BLISSED OUT FROM HIS appearance at the Monterey Pop Festival, Hendrix brought a delicate touch to this ballad during a 1967 London session. In a mere 145 seconds, he conjured a gossamer reverie. Hendrix played one of his most lyrical solos through a Leslie speaker cabinet (which creates an oscillating sound) and later added glockenspiel to complete the mood.

Appears on: Axis: Bold as Love (Experience Hendrix/MCA)

• 358 11 weeks: no. 8

Nowhere to Run
Martha and the Vandellas

W Brian Holland, Lamont Dozier, Eddie Holland

P Brian Holland, Dozier

R Feb. '65 on Gordy

MAKTHA REEVES WAS working as a secretary for A&R man Mickey Stevenson at Motown when Mary Wells missed a session date; Reeves stepped in for her and eventually became a star. Her wail makes "Nowhere to Run" a downright scary tale of obsessive love.

Appears on: The Ultimate Collection (Motown)

• 359 Did not Chart

Got My Mojo Working
Muddy Waters

W Preston Foster

P Phil Chess, Leonard Chess, Willie Dixon

R 1957 on chess

WATERS CREATED HIS version of the classic "Mojo Working" after listening to R&B vocalist Ann Cole perform it nightly while they toured together in 1956. He revamped the rhythm and lyrics, turning it into a speedy howl about voodoo and sexual power.

Appears on: The Anthology (Chess/MCA)

• 360 16 weeks; No. 1

Killing Me Softly With His Song
Roberta Flack

W Norman Gimbel, Charles Fox

P Joel Dorn

R Jan 73 on Atlantic

INSPIRED BY A DON McLean gig at L.A.'s Troubadour, folk singer Lori Lieberman jotted down the idea for the song, then took it to Gimbel and Fox (of Happy Days fame). Flack heard Lieberman's recording on an in-flight radio station and "absolutely freaked," she said. She tracked down the songwriters. then spent three months in the studio with Dorn perfecting the track.

Appears on: Killing Me Softly (Atlantic)

• 361 Non-single

Complete Control
The Clash

W Mick Jones, Joe Strummer

P Lee "Scratch" Perry

R July '79 on Epic

THE CLASH WERE HARDcore reggae fans, so it was natural they would want to work with legendary dub producer Perry. But the resulting single wasn't dub at all — it was the Clash's toughest, noisiest punk anthem, with Mick Jones cranking the guitar to ear-bleeding levels. "Complete Control," a U.K. hit in the fall of 1977, was appended to the American version of the band's debut album.

Appears on: The Clash (Epic)

• 362 11 weeks; No. 1

All You Need Is Love
The Beatles

W John Lennon, Paul McCartney

P George Martin

R July '67 on Capitol

TWENTY-FOUR DAYS after the release of Sgt. Pepper, the Beatles represented England on the six-hour TV show Our World, a satellite broadcast seen by 400 million. "All You Need Is Love" was the simple message they wanted to send to the world. "It was for love and bloody peace," Ringo Starr said. The backing choir on the single included Mick Jagger. Keith Moon and Donovan.

Appears on: Magical Mystery Tour (Capitol)

• 363 16 weeks; No. 1

The Letter
The Box Tops

W Wayne Carson Thompson

P Dan Perm

R July '67 on Mala

ON "THE LETTER," ALEX Chilton moans like a gruff soul man, despite the fact that he was just sixteen. He credited the performance to his producer, the Memphis legend Penn. "[He] coached me pretty heavily on singing anything we ever did," Ohilton said. "In a lot of cases, it sounds more like him singing than it sounds like me." Chilton later fronted Big Star but still tours with the reunited Box Tops.

Appears on: The Letter (Sundazed)

• 364 Did not chart

Highway 61 Revisited
Bob Dylan

W Dylan

P Bob Johnston

R Aug. '65 on Columbia

"HIGHWAY 61 BEGINS about where I came from," Dylan writes in Chronicles. "Duluth, to be exact." The road runs through the heart of America — and so does the song. It's Dylan at his wildest, both musically and lyrically, topping the band's roadhouse stomp with his surreal cosmic jokes. His police-siren whistle was courtesy of session man Al Kooper.

Appears on: Highway 61 Revisited (Columbia)

• 365 13 weeks: No. 4

Unchained Melody
The Righteous Brothers

W Alex North, Hy Zaret

P Phil Spector

R July '65 on Philles

THIS SONG FIRST HIT the charts in 1955, when three different versions of it landed in the Top Ten. The Righteous Brothers picked up the torch in 1965, as the B side to their single "Hung on You." When DJs began playing "Unchained Melody" instead, Spector decided the duo should put out only covers of pre-rock pop songs as its singles; its cover of Sinatra's "Ebb Tide" also hit big.

Appears on: Anthology 1962-1974 (Rhino)

• 366 33 weeks: No. 1

How Deep Is Your Love
Bee Gees

W Barry Gibb, Maurice Gibb, Robin Gibb

P Barry Gibb, Maurice Gibb, Robin Gibb, Karl Richardson, Albhy Galuten

R Sept. '77 on RSO

THE FIRST SINGLE FROM the Saturday Night Fever soundtrack was not a disco track but this slow jam. The Bee Gees' work for the film was recorded during a famed two-and-a-half-week-long session at a château in northern France, where, according to Barry Gibb, "six classic lesbian porno scenes [were] filmed."

Appears on: Saturday Night Fever (Polygram)

• 367 11 weeks; No. 6

White Room
Cream

W Pete Brown, Jack Bruce

P Felix Pappalardi

R Aug. '68 on Atco

THE SONG'S UNNERVING psychedelic imagery came from lyricist Brown, who had just gone through a period of drug and alcohol excess. "It was in my whitepainted room that I had the horrible drug experience that made me want to stop everything," he said.

Appears on: Wheels of Fire (Polygram)

• 368 20 weeks: No. 28

Personal Jesus
Depeche Mode

W Martin Gore

P Depeche Mode, Flood

R Nov. '89 on Sire

DEPECHE MODE'S BREAKthrough single was based on a surprising source: Priscilla Presley's book Elvis and Me. "It's about how Elvis was her man and her mentor and how often that happens in love relationships," Gore said. "How everybody's heart is like a god in some way."

Appears on: violator (Sire)

• 369 Did not chart

I'm a Man
Bo Diddley

W Ellas McDaniel

P Leonard Chess

R June '55 on Checker

THE B SIDE OF DIDDLEY'S first-ever single was built around a four-note guitar stomp that was a trademark of mid-Fifties Chicago blues. Songwriter Willie Dixon, who supervised the 1955 session, said it was Diddley's sense of rhythm that set him apart from everyone else at Chess: "The drums are speaking, and he'll tell you what the drums are saying."

Appears on: His Best: The Chess 50th Anniversary Collection (Chess)

• 370 8 weeks; No. 65

The Wind Cries Mary
The Jimi Hendrix Experience

W Hendrix

P Chas Chandler

R May '67 on Reprise

A DISH-SMASHING ARGUment with his girlfriend left Hendrix alone to scrawl the words to "The Wind Cries Mary" in January 1967. A few days later, the guitarist taught the uncharacteristically tender ballad to his hand, the Experience, in a London recording studio while making Are You Experienced? The trio knocked out the track in twenty minutes.

Appears on: Are You Experienced? (MCA)

• 371 2 weeks; No. 93

I Can't Explain The Who
W Pete Townshend

P Shel Talmy

R March '65 on Decca

FOR THEIR DEBUT SINGLE, the Who recorded Townshend's alleged answer to the Kinks "You Really Got Me." The Who even hired that song's producer, Talmy, who recruited additional players for the recording, among them Jimmy Page, who contributed rhythm guitar.

Appears on: The ultimate Collection (MCA)

• 372 Non-single

Marquee Moon
Television

W Tom Verlaine

P Andy Johns

R Feb. '77 on Elektra

"MARQUEE MOON" IS Television's guitar epic, stretching out for ten minutes of urban paranoia. "I would play until something happened," Verlaine said. "That comes from jazz, or even the Doors, or the Five Live Tardbirds album — that kinda raveup dynamics."

Appears on: Marquee Moon (Elekra)

• 373 15 weeks; No. 12

Wonderful World
Sam Cooke

W Cooke, Herb Alpert, Lou Adler

P Cooke, Adler

R May '60 on RCA

COOKE WAS ROOMING with Adler, who had already finished this song when Cooke fiddled with the lyrics and came up with the academic conceit that made it work. Cut while Cooke was still signed to Keen, it sat around until he'd moved to RCA — then sold a million. Before it came out, Oooke liked to sing it for women he met, telling them he'd made it up on the spot just for them.

Appears on: Portrait of a Legend 1951-1964 (ABKCO)

• 374 Did not chart

Brown Eyed Handsome Man
Chuck Berry

W Berry

P Leonard Chess, Phil Chess

R Sept. '56 on Chess

BERRY WAS INSPIRED TO write this song while he was touring through heavily black and Latino areas of California. As Berry put it, "I didn't see too many blue eyes." He did see a good-looking Chicano nabbed for loitering until "some woman came up shouting for the policeman to let him go." Over a manic guitar lick, the song spins a riotously funny tale about a dark-eyed loverman.

Appears on: The Anthology (Chess)

NO. 375
Another Brick in the Wall Part 2
Pink Floyd

25 weeks: No. 1

W Roger Waters

P Bob Ezrin, Waters, David Gilmour

R Nov. '79 on Columbia

WATERS' VICIOUS ATTACK ON teachers who practice "dark sarcasm in the classroom" was inspired by the cruelty of his own schoolmasters. "The school I was at — they were really like that," Waters said. "They were so fucked up, [all] they had to offer was their own bitterness and cynicism." "Another Brick" is rendered in three versions on The Wall, but "Part 2" was the hit.

Appears on: The Wall (Capitol)

• 376 4 weeks; No. 65

Fake Plastic Trees
Radiohead

W Radiohead

P John Leckie

R March '95 on Capitol

RADIOHEAD FRONTMAN Thom Yorke would describe "Fake Plastic Trees" as the song on which he found his lyrical voice. He cut the vocal, accompanying himself on acoustic guitar, in one take, then the band filled in its parts around him. Yorke said the song began as "a very nice melody which I had no idea what to do with, then you wake up and find your head singing some words to it."

Appears on: The Bends (Capitol)

• 377 11 weeks; No. 1

Hit the Road Jack
Ray Charles

W Percy Mayfield

P sid Feller

R Sept. '61 on ABC-Paramount

CHARLES ASKED MAYfield, a one-time R&B hitmaker whose performing career was curtailed by a disfiguring car accident in 1952, if he had any songs for Charles to record. Mayfield offered up "Hit the Road Jack." The snarling female vocal was provided by Margie Hendricks of the Raelets. Hendricks' affair with Charles produced a son in 1959; Charles fired her from the Raelets in 1964.

Appears on: Ultimate Hits Collection (Rhino)

• 378 15 weeks; No. 33

Pride [In the Name of Love]
U2

W Bono, the Edge, Adam Clayton, Larry Mullen Jr.

P Brian Eno, Daniel Lanois

R Oct. '84 on Island

THE SONG'S CHORDS came from a 1983 sound check in Hawaii; the lyrics about Martin Luther King Jr. were inspired by an exhibit at Chicago's Peace Museum. With backing vocals provided by Pretenders singer Chrissie Hynde (credited on the liner notes as Mrs. Christine Kerr), the result was the band's first Top Forty hit.

Appears on: The Unforgettable Fire (Island)

• 379 5 weeks; No. 73

Radio Free Europe
R.E.M.

W Berry, Buck, Mills, Stipe

P Mitch Easter, Don Dixon

R July '83 on I.R.S.

"WE HATED IT," SAID Peter Buck of the sound on the first version of "Europe," on indie label Hib-Tone. "It was mastered by a deaf man, apparently." The band rerecorded it for Murmur.

Appears on: Murmur (A&M)

• 380 17 weeks; No. 2

Goodbye Yellow Brick Road
Elton John

W John, Bernie Taupin

P Gus Dudgeon

R Sept. '73 on MCA

INSPIRED BY THE ROLLING Stones' Goats Head Soup, John and his lyricist Taupin went to Kingston, Jamaica, to record John's sixth album. "The studio was surrounded by barbed wire," said Taupin, "and there were guys with machine guns." Too scared to leave their hotel, the duo banged out twenty-one songs in three days, among them "Goodbye Yellow Brick Road."

Appears on: Goodbye Yellow Brick Road (Island)

• 381 14 weeks; No. 2

Tell It Like It Is
Aaron Neville

W George Davis, Lee Diamond

P Davis

R Nov. '66 on Par Lo

NEVILLE WAS WORKING as a longshoreman when he cut this sublime New Orleans R&B ballad, a plea for true love. "A lot of people come up to me and say, 'That song got me and my wife together,'" he recalled. "And others say, 'It broke me and my wife up.'"

Appears on: Tell It Like It Is: Golden Classics (Collectables)

• 382 20 weeks; No. 12

Bitter Sweet Symphony
The Verve

W Mick Jagger, Keith Richards, Richard Ashcroft

P The Verve, Christopher Marc Potter, Youth

R Sept. '97 on Virgin

BITTERSWEET, INDEED. Since it used a sample from an orchestral version of a Rolling Stones song, the Verve hit was credited to Jagger-Richards. Ashcroft claimed it was the best song the Stones had written in twenty years.

Appears on: Urban Hymns (Virgin)

• 383 Non-single

Whipping Post
The Allman Brothers Band

W Gregg Allman

P Tom Dowd

R Nov. '69 on Capricorn

THIS ENDURING ANTHEM was written on an ironing board in a darkened Florida bedroom by Allman. Leaping off with a rumbling Berry Oakley bass line, rife with tormented blues-ballad imagery and punctuated by Duane Allman's knifelike guitar incisions, the song is best appreciated in the twenty-three-minute incarnation on At Fillmore East.

Appears on: At Fillmore East (Mercury)

• 384 11 weeks; No. 1

Ticket to Ride
The Beatles

W John Lennon, Paul McCartney

P George Martin

R April '65 on Capitol

BY 1965, THE BEATLES could write uptempo Number One singles pretty much on demand; they called them "potboilers." "We almost invented the idea of a new bit of a song on the fade-out," said McCartney of "Ticket to Ride." "It was quite radical at the time."

Appears on: Help! (Capitol)

• 385 9 weeks; No. 14

Ohio
Crosby, Stills, Nash and Young

W Neil Young

P Crosby, Stills, Nash, Young

R June '70 on Atlantic

ON MAY 4TH, 1970, the National Guard killed four protesters at Kent State University in Ohio. Young wrote a fiery indictment of the shootings, and the group went right into the studio and rush-released it, knocking its own "Teach Your Children" off the charts.

Appears on: Decade (Reprise)

• 386 Did not chart

I Know You Got Soul
Eric B. and Rakim

W Eric B. and Rakim

P Eric B. and Rakim

R July '87 on 4th and Broadway

RAKIM WAS THE MICROphone fiend who was dripping steam. Eric B. was the DJ with the James Brown samples. They were local legends before ever releasing a song ("Eric B. was driving a Rolls-Royce before he ever put out a record," Chris Rock once told ROLLING STONE. "My man was gangsta"), but this cut let the whole world know it was time to pump up the volume.

Appears on: Paid in Full (Island)

• 387 7 weeks; No. 41

Tiny Dancer
Elton John

W John, Bernie Taupin

P Gus Dudgeon

Nov. '71 on Uni

LYRICIST TAUPIN WROTE this 1971 song about his first wife, Maxine Feibelman, who really was a seamstress for John's band and obviously did marry a music man. John's skyrocketing melody got a little help from Paul Buckmaster's strings and from Rick Wakeman, soon to join prog-rockers Yes, who played organ. "Tiny Dancer" was revived in the 2000 film Almost Famous.

Appears on: Madman Across the Water (Island)
• 388 13 weeks; No. 32

Roxanne
The Police

W Sting

P The Police

R Jan '79 on A&M

"THAT SONG HAS BEEN the turnaround for us," Stewart Copeland told ROLLING STONE. Sting came up with the idea for the song while wandering around the redlight district of Paris after a canceled show, wondering what it would be like to be in love with a prostitute.

Appears on: Outlandos d'Amour (Interscope)

• 389 15 weeks; No. 1

Just My Imagination
The Temptations

W Norman Whitfield, Barrett Strong

P Whitfield

W Jan. '71 on Gordy

EDDIE KENDRICKS, who'd sung lead on the Temptations' first hit, "The Way You Do the Things You Do," in 1964, took a rare lead vocal, his last as a Temptation. By the time the song hit Number One, Kendricks had left the group for a solo career.

Appears on: Anthology (Motown)

• 390 12 weeks; No. 11

Baby I Need Your Laving
The Four Tops

W Brian Holland, Lamont Dozier, Eddie Holland

P Holland, Dozier, Holland

R July '64 on Motown

THE FOUR TOPS were playing a Detroit nightclub when they got a call from Brian Holland saying he had a song ready for them. They showed up at Hitsville at 2 A.M. to record "Baby I Need Your Loving," their first single on Motown.

Appears on: The ultimate Collection (Motown)

• 391 20 weeks; No. 3

Band of Gold
Freda Payne

W Ronald Dunbar, Edythe Wayne

P Brian Holland, Lamont Dozier, Eddie Holland

R April '70 on Invictus

IN 1968, HOLland-Dozier-Holland left Motown to form Invictus Records. They inked Detroit singer Payne — sister of latter-day Supreme Scheme — who hit with this tale of an unconsummated marriage.

Appears on: Soul Hits of the '70s: Didn't It Blow Your Mind! Vol. 2 (Rhino)

• 392 16 weeks; No. 8

O-o-h Child
The Five Stairsteps

W Stan Vincent

P Vincent

R April '70 on Buddah

"o-o-H CHILD" GAVE THE Five Stairsteps — four brothers and a sister from Chicago — a pop-soul classic that rivaled the hits of another sibling gang, the Jackson 5. The children of police detective Clarence Burke, the Five Stairsteps, who played their own music as well as sang, ranged in age from thirteen to seventeen when Curtis Mayfield signed them to his Windy C label.

Appears on: Soul Hits of the '70s: Didn't it Blow Your Mind! Vol. 2 (Rhino)

• 393 11 weeks; No. 1

Summer in the City
The Lovin' Spoonful

W John Sebastian, Steve Boone, Mark Sebastian

P Erik Jacobsen

R June '66 on Kama Sutra

"SUMMER IN THE CITY" was a stylistic turn for the Lovin' Spoonful — tougher and less daydreamy. "We felt the only way we could stick out would be to sound completely different from one single to another," said John Sebastian. With a barrage of car horns on the bridge, "Summer in the City" evoked its subject with urban grit and Gershwin-esque grandeur.

Appears on: The Lovin' Spoonful Greatest Hits (Buddah)

• 394 14 weeks; No. 1

Can't Help Falling in Love
Elvis Presley

W George Weiss, Hugo Peretti, Luigi Creatore

P Joseph Lilley

R Oct. '61 on RCA

THIS ADAPTATION OF Giovanni Martini's eighteenth-century song "Plaisir d'Amour" was given to Elvis for his movie Blue Hawaii — hence the Hawaiian steel guitar. But this was no vacation for Presley: It took him twenty-nine takes to nail his exquisitely gentle vocals. The song became the closing number for most of his Seventies concerts.

Appears on: Elvis 30 #1 Hits (RCA)

Presley in 1961, making Blue Hawaii

• 395 11 weeks; No. 5

Remember (Walkin' in the Sand)
The Shangri-Las

W George "Shadow" Morton

P Morton

R Aug. '64 on Red Bird

THE SHANGRI-LAS, TWO sets of sisters from Queens, New York, were in high school when producer Morton hired them to record "Remember" — a tune he claimed to have written in twenty minutes on the way to the studio. Legend has it that a fifteen-year-old Billy Joel played piano on the session. Morton went on to produce the New York Dolls.

Appears on: The Best of the Shangri-Las (Mercury)

• 396 Non-single

Thirteen
Big Star

W Alex Chilton, Chris Bell

P John Fry

R April '72 on Ardent

CHILTON WROTE THIS acoustic ballad about two kids in love with rock & roll, featuring the deathless couplet, "Won't you tell your dad to get off my back/Tell him what we said about 'Paint It Black.'" It's simple musically; as Chilton said, "I was still learning to play and stuff." It never came out as a single or got any radio play, but "Thirteen" is one of rock's most beautiful celebrations of adolescence.

Appears on: #1 Record/Radio City (Fantasy)

• 397 14 weeks; No. 12

(Don't Fear) the Reaper
Blue Öyster Cult

W Donald Roeser

P Murray Krugman, Sandy Pearlman, David Lucas

R July '76 on Columbia

THIS LONG ISLAND METAL band's death trip was picked by ROLLING STONE critics as the best rock single of 1976. With its ghostly guitars and cowbell, "Reaper" has added chills to horror flicks from Halloween to The Stand. Bonus points for the crackpot theology about how "40,000 men and women every day" join Romeo and Juliet in eternity.

Appears on: Agents of Fortune (Columbia)

• 398 17 weeks; No. 8

Sweet Home Alabama
Lynyrd Skynyrd

W Ed King, Gary Rossington, Ronnie Van Zant

P Al Kooper

R April '74 on MCA

VAN ZANT SANG THIS pissed-off answer to Neil Young's "Southern Man," and even Young loved it. "I'd rather play 'Sweet Home Alabama' than 'Southern Man' anytime," Young said. The admiration was mutual; Van Zant wore a Young T-shirt on the cover of Skynyrd's final album, Street Survivors, and according to legend, he is buried in the shirt.

Appears on: Second Helping (MCA)

• 399 20 weeks; No. 16

Enter Sandman
Metallica

W James Hetfield, Lars Ulrich, Kirk Hammett

P Bob Rock, Hetfield, Ulrich

R July '91 on Elektra

THANKS TO PRODUCER Rock, the coiled, brooding "Enter Sandman" was the first Metallica tune that sounded perfect for the radio (some die-hard fans have never forgiven them for that). It compressed all Metallica's power into one minimalist single. As drummer Ulrich pointed out in 1991, "The whole intro, the verse, the bridge, the chorus — it's the same riff."

Appears on: Metallica (Elektra)

NO. 400
Kicks
Paul Revere and the Raiders

14 weeks; No. 4

W Barry Mann, Cynthia Weil

P Terry Melcher

R March '66 on Columbia

AFTER THE ANIMALS HIT with "We Gotta Get Out of This Place," producer Melcher asked the song's writers, Brill Building veterans Weil and Mann, to do something similar for Pacific Northwest garage rockers Paul Revere and the Raiders. The result was an antidrug song ("Girl, you better get straight") set to a chiming twelve-string guitar hook that became the group's first Top Ten hit.

Appears on: Midnight Ride (Sundazed)

• 401 12 weeks; No. 39

Tonight's the Night
The Shirelles

W Luther Dixon, Shirley Owens

P Dixon

R Sept. '60 on Scepter

THE SHIRELLES WERE teens in Passaic, New Jersey, who formed the group while in high school. Lead singer Owens was nine-teen when she co-wrote this hit about romantic surrender, full of Latin-style syncopation and soulful yearning.

Appears on: 25 All-Time Greatest Hits (Varese Sarabande)

• 402 13 weeks; No. 1

Thank You (Falettinme Be Mice Elf Agin)
Sly and the Family Stone

W Sylvester Stewart

P Stewart

R Jan. '70 on Epic

"THANK YOU" RODE ON the finger-popping bass of Larry Graham, who came up with the technique in a duo with his organist mother. "I started to thump the strings with my thumb," he said, "to make up for not having a drummer."

Appears on: Anthology (Epic)

• 403 12 weeks; No. 35

C'mon Everybody Eddie Cochran
W Cochran, Jerry Capehart

P Capehart

R Oct. '58 on Liberty

COCHRAN WAS PAID $82.50 for the three-hour session that produced this classic rockabilly track. The follow-up to his smash "Summertime Blues," "C'mon" is a goodnatured bad-boy tune powered by Cochran's heavy strumming on his Martin guitar. Although he died young in a 1960 car crash, Cochran became a crucial influence in England.

Appears on: Somethin' Else (Razor and Tie)

• 404 Non-single

Visions of Johanna
Bob Dylan

W Dylan

P Bob Johnston

R May '66 on Columbia

"IT'S EASIER TO BE disconnected than connected," Dylan confessed in late 1965. "I've got a huge hallelujah for all the people who're connected, that's great, but I can't do that." He never sounded lonelier than in this seven-minute ballad, cut in a single take on Valentine's Day 1966. His band included Nashville session pro Al Kooper on Hammond 63 organ.

Appears on: Blonde on Blonde (Columbia)

• 405 17 weeks; No. 2

We've Only Just Begun
The Carpenters

W Paul Williams, Roger Nichols

P Jack Daugherty

R Sept. 70 on A&M

"BEGUN" BEGAN LIFE AS A TV jingle for a California bank that caught Richard Carpenter's ear. "Our best single," he said later.

Appears on: Singles 1969-1981 (Interscope)

• 406 34 weeks; No. 2

I Believe I Can Fly
R. Kelly

W Kelly

P Kelly

R Nov. '96 on Atlantic

IN THE SPRING OF 1996, Kelly received an early version of the kiddie movie Space Jam, featuring Michael Jordan and Bugs Bunny. "I studied it and I prayed over it," said Kelly, "because I wanted the best thing to come out of it." The movie was nothing special, but the gospel-style ballad Kelly came up with lives on at weddings and sixth-grade choir concerts to this day, despite his recent legal troubles.

Appears on: R. (Jive)

• 407 Non-single

In Bloom
Nirvana

W Kurt Cobain

P Butch Vig

R sept. '91 on DGC

"I DON'T LIKE REDnecks, I don't like macho men," Cobain once said. This track about a guy who "loves to shoot his gun" would become one of Nirvana's biggest live anthems. It started out as more of a hard-core rant. "It sounded like a Bad Brains song," said Krist Novoselic. Then, "one day Kurt called me and started singing. It was the 'In Bloom' of Hevermind, more of a pop thing."

Appears on: Nevermind (Geffen)

• 408 8 weeks; No. 36

Sweet Emotion
Aerosmith

W Steven Tyler, Tom Hamilton

P Jack Douglas

R April '75 on Columbia

AS THE SESSIONS FOR Toys in the Attic reached the eleventh hour at the Record Plant in New York, producer Douglas called out for ideas. Bassist Hamilton resurrected a riff that had been germinating for several years, and it was outfitted with bass marimba and Joe Perry's voice-box recitation of the song title. A few months later, Aerosmith had their first Top Forty single.

Appears on: Toys in the Attic (Sony)

Tyler in 1975, in a sweet cat suit

• 409 8 weeks; No. 28

Crossroads
Cream

W Robert Johnson

P Felix Pappalardi

R June '68 on Atco

"IF YOU THOUGHT ERIC Clapton was human," marveled the late British DJ John Peel, "you'd better listen to this." He was referring to Cream's live version of Johnson's "Cross Road Blues" — originally cut in 1936 — recorded at San Francisco's Winterland Ballroom in March 1968. "Crossroads" took on the Delta blues for four furious, psychedelic minutes.

Appears on: Wheels of Fire (Polygram)

• 411 Did not chart

Monkey Gone to Heaven
Pixies

W Black Francis

P Gil Norton

R March '89 on Elektra

NUMEROLOGY, SLUDGE in the ocean, a hole in the sky — what's it all supposed to mean? Said Francis (a.k.a. Frank Black), "The phrase 'monkey gone to heaven' just sounds neat." Producer Norton cleaned up the band's sound, adding the eerie strings, but the Pixies didn't bother to try for pop appeal. Said Francis, "It wasn't like we thought we'd get played on the radio."

Appears on: Doolittle (4 AD/ Elektra)

• 411 23 weeks; No. 6

I Feel Love
Donna Summer

W Summer, Giorgio Moroder, Pete Beilotte

P Moroder, Beilotte

R May '77 on Casablanca

WHEN BRIAN ENO first listened to this song, he told David Bowie, "I've heard the sound of the future."

Thanks to Moroder's throbbing Moog synthesizers, "I Feel Love" claimed tomorrow in the name of disco.

Appears on: The Donna Summer Anthology (Casablanca)

• 412 14 weeks: No. 1

Ode to Billie Joe
Bobbie Gentry

W Gentry

P Kelly Gordon, Bobby Paris

R July '67 on Capitol

ONCE AND FOR ALL: EXactly what did Billie Joe throw off the Tallahatchee Bridge, and why did he jump himself? Gentry never revealed the secret of this spooky country blues. "The real message," she said, "revolves around the way the nonchalant family talks about the suicide."

Appears on: Greatest Hits (Curb)

• 413 8 weeks; No. 49

The Girl Can't Help It
Little Richard

W Bobby Troup

P Robert "Bumps" Blackwell

R Jan. '57 on Specialty

LITTLE RICHARD screamed this ode to feminine pulchritude, the theme from one of the first great rock movies. Making the film with Jayne Mansfield was a moving experience for Richard. "Jayne Mansfield was really a wonderful person," he reminisced. "Her breasts were fifty inches, and she didn't wear a brassiere. They didn't hang down."

Appears on: The Georgia Peach (Specialty)

• 414 11 weeks; No. 1

Young Blood
The Coasters

W Jerry Leiber, Mike Stoller, Doc Pomus

P Leiber, Stoller

R May '57 on Atco

THE COASTERS WERE named after the West Coast, home turf for the four singers. The group's first singles were the small R&B hits "Down in Mexico" and "Turtle Dovin'." But after almost a year away from the recording studio, the Coasters relocated to New York and cut their first blockbuster. The hilarious jailbait ditty "Young Blood" got these jokers into the Top Ten.

Appears on: The Very Best of the Coasters (Rhino)

• 415 14 weeks: No. 1

I Can't Help Myself
The Four Tops

W Eddie Holland, Lamont Dozier, Brian Holland

P Holland, Dozier, Holland

R June '65 on Motown

"MY REAL STYLE OF singing is just a natural thing," said Four Tops frontman Levi Stubbs. "What I mean by that is I don't consider myself as being a heck of a singer, man. I'm more of a stylist, if you will." His soul stylings sent the Tops to Number One — after the four original members had already been performing together for ten years.

Appears on: The Ultimate Collection (Motown)

• 416 22 weeks; No. 5

The Boys of Summer
Don Henley

W Henley, Mike Campbell

P Henley, Campbell, Danny Kortchmar, Greg Ladanyi

R NOV. '84 on Geffen

HENLEY GAVE CALIFORia rock a stylish Eighties makeover with this poignant lament for his generation, featuring the famous line "Out on the road today/I saw a Deadhead sticker on a Cadillac." When the Ataris did their hit punk-rock cover version in 2003, they changed it to a Black Flag sticker — but the sentiment was the same.

Appears on: Building the Perfect Beast (Geffen)

• 417 Did not chart

Fuck tha Police
N.W.A

W Ice Cube, MC Ren

P Dr. Dre

R Aug. '89 on Priority

WITH ONE SONG, N.W.A brought the battle between rappers and cops to a new level. On August Ist, 1989, the FBI sent a bulletin to the group's label denouncing this song. According to the bulletin, "Fuck tha Police" "encourages violence against, and disrespect for, the law enforcement officer." The publicity established N.W.A as hiphop's bad boys.

Appears on: Straight Outta Compton (Priority)

N.W.A's Dre, Eazy-E, cube, Ren (from left)

• 418 12 weeks: No. 21

Suite: Judy Blue Eyes
Crosby, Stills and Nash

W Stephen Stills

P David Crosby, Stills, Graham Nash

R June '69 on Atlantic

WRITTEN BY STILLS FOR his ex-girlfriend Judy Collins, this seven-minute harmony showcase kicked off Crosby, Stills and Nash's debut album. Stills played most of the instruments, which got him the nickname Captain Manyhands, but as Graham Nash told ROLLING STONE, "The three-part vocal blend was fucking fantastic."

Appears on: Crosby, Stills and Nash (Atlantic)

• 419 27 weeks; No. 2

Nuthin' But a 'G' Thang
Dr. Dre

W Snoop Dogg

P Dre

R Jan. '93 on Death Row

DRE'S DEBUT SOLO SINgle sampled the bass line from Leon Haywood's '75 hit "I Want'a Do Something Freaky 19 You." Dreon his working methods: "I sit around by myself in the studio at home, push buttons and see what happens."

Appears on: The Chronic (Death Row)

• 420 14 weeks; No. 1

It's Your Thing
The Isley Brothers

W Rudolph Isley, Ronald Isley, O'Kelly Isley

P R. Isley, R. Isley, O. Isley

R Feb. '69 on T-Neck

IN 1969, THE ISLEYS fled Motown and revived their own T-Neck Records, where they unleashed the free-will funk of "It's Your Thing." It became their biggest hit and earned a lawsuit from Berry Gordy, who claimed he owned the song.

Appears on: The Ultimate Isley Brothers (Legacy)

• 421 14 weeks; No. 25

Piano Man
Billy Joel

W Joel
P Michael stewart
R Nov. '73 on Columbia
JOEL GREW UP PLAYING in Long Island rock bands with names such as the Hassles, but a California hiatus pointed him in a more introspective direction. As a lounge pianist for six months under the name Bill Martin, he pecked out standards for lost souls. "It was all right," he told ROLLING STONE. "I got free drinks and union scale, which was the first steady money I'd made in a long time."

Appears on: Piano Man (Columbia)

• 422 14 weeks; No. 9

Lola
The Kinks

W Ray Davies
P Davies
R Aug. '70 on Reprise
THE REAL LOLA? PERHAPS transvestite Candy Darling, whom Davies dated. "It was the stubble that gave it away," Ray said.

Appears on: Lola Versus Powerman and the Moneygoround, Part One (Warner Bros.)

• 423 12 weeks: No. 20

Blue Suede Shoes
Elvls Presley

W Carl Perkins
P Steve Sholes
4R March '56 on RCA
THE DAY AFTER PRESLEY made his television debut, on Jimmy and Tommy Dorsey's Stage Show, he went into a studio in New York, kicking off the session with "Blue Suede Shoes"; Perkins' original was still climbing the charts. Despite thirteen takes, Presley and Sholes felt they hadn't matched it. Maybe they were right: Perkins' single got to Number Two, but Presley's peaked at Number Twenty.

Appears on: 2nd to None (BMG Heritage)

• 424 10 weeks; No. 7

Tumbling Dice
Rolling Stones

W Mick Jagger, Keith Richards
P Jimmy Miller
R April '72 on Rolling Stones
ORIGINALLY TITLED "Good Time Women," "Tumbling Dice" went through numerous faster incarnations before it was cut for Exile on Main Street at Richards' villa, Nellcote, in the south of France, just down the road from the casinos of Monte Carlo. Contributing to the spontaneous feel: Jagger played some guitar on the track, and Mick Taylor played bass.

Appears on: Exile on Main Street (Virgin)

NO. 425
William, It Was Really Nothing
The Smiths

Did not chart

W Johnny Marr, Morrissey
P John Porter
R Aug. '84 on Sire
WHEN ASKED IN 1984 'WHO was the last person to see him naked, Morrissey replied, "Almost certainly the doctor who brought me into this cruel world." But like many of the Smiths' early singles, "William" is a tale of traumatic teen sex, in this case a tragic love triangle in a humdrum town. Surprisingly, OutKast's André 3000 is a huge Smiths fan; he recently named "William" as his absolute favorite.

Appears on: Louder Than Bombs (Sire)

• 426 16 weeks; No. 4

Smoke on the Water
Deep Purple

W Ritchie Blackmore, Ian Gillian, Roger Glover,
Jon Lord, Ian Paice
P Deep Purple
R May '73 on Warner Bros.
KEYBOARDIST LORD claimed that the working title for this song was "Durh Durh Durh" — a transliteration of the riff that some beginner guitarist is probably trying out for the first time right now. The lyrics tell the story of a fan shooting a flare gun during a 1971 Frank Zappa show at the Casino in Montreux, Switzerland, setting the venue ablaze.

Appears on: Machine Head (Rhino)

• 427 12 weeks; No. 53

New Year's Day
U2

W Bono, the Edge, Larry Mullen, Adam Clayton Jr.
P Steve Lillywhite
R April '83 on Island
"NEW YEAR'S DAY" LIFTed U2 out of the rock underground for good. As he often did, Bono made up his lyrics on the spot. "We improvise, and the things that came out, I let them come out," he said. "I must have been thinking about Lech Walesa being interned. Then, when we'd recorded the song, they announced that martial law would be lifted in Poland on New Year's Day. Incredible."

Appears on: War (Island)

• 428 16 weeks; No. 4

Devil With a Blue Dress On/Good Golly Miss Molly
Hitch Ryder and the Detroit Wheels

W William Stevenson, Shorty Long/John Marascalco
and Robert "Bumps" Blackwell
P Bob Crewe
R Sept. '66 on New Voice
ONE OF THE ORIGINAL Detroit garage rockers, Ryder revved up a pair of Little Richard songs into a hit medley. The next time Little Richard played Detroit, he saw Ryder in the front row. "He got his break in the business with two of my songs," Richard recalled. "I got him up to take a bow."

Appears on: Rev Up (Rhino)

• 429 8 weeks; No. 58

Everybody Needs Somebody to Love
Solomon Burke

W Burke, Bert Berns, Jerry Wexler
P Berns
R July '64 on Atlantic
PHILADELPHIA-BORN minister Burke started preaching at the age of seven and often recorded his vocals from behind a pulpit. Burke attacks this song in the style of a fire-and-brimstone Southern preacher, calling out for a witness and testifying to the power of love. In the congregation: the Rolling Stones, who covered it in 1965.

Appears on: The Very Best of Solomon Burke (Rhino)

• 430 Did not chart

White Man in Hammersmith Palais
The Clash

W Mick Jones, Joe Strummer
P The Clash
R July '79 on Epic
"WE CAN'T PLAY REGGAE," Strummer said in 1977. But the Clash invented a style of punk skank, toasting solidarity between punks and Rastas.

Appears on: The Clash (Epic)

• 431 13 weeks; No. 10

Ain't It a Shame
Fats Domino

W Dave Bartholomew, Domino
P Bartholomew
R July '55 on Imperial
IN THE SUMMER OF 1955, "Ain't It a Shame" became Domino's first pop smash, after a string of R&B hits in the early 1950s. Pat Boone's white-bread cover (retitled "Ain't That a Shame") reached Number One, but as Jerry Wex1er put it, "Fats Domino is still the thing. Who cares about what's his name with the white buck shoes?"

Appears on: The Fats Domino Jukebox: 20 Greatest Hits (Capitol)

• 432 19 weeks; No. 1

Midnight Train to Georgia
Gladys Knight and the Pips

W Jim Weatherly
P Tony Camillo
R Sept. '73 on Buddah
ORIGINALLY TITLED "MID'-night Plane to Houston," the ode to long-distance romance from Mississippi songwriter Weatherly (who also wrote Knight's "Neither One of Us") became the biggest hit ever for Gladys Knight and the Pips. Cissy Houston had an R&B hit with it first, before Knight took it to the top of the pop charts.

Appears on: Essential Collection (Hip-0)

• 433 Non-single

Ramble On
Led Zeppelin

W Jimmy Page, Robert Plant
P Page
R Oct. '69 on Atlantic
GROUPIES AND "THE LORD OF the Rings" seemed to provide the inspiration for "Ramble On," recorded in 1969 in New York on Led Zeppelin's first U.S. tour. Over Page's acoustic guitars, Plant wails, "In the darkest depths of Mordor/I met a girl so fair." Middle-Earth influenced more than just the band's music: "After reading Tolkien," Page said, "I knew I had to move to the country." Legend has it that John Bonham plays a plastic garbage can on the song.

Appears on: Led Zeppelin II (Atlantic)

• 434 9 weeks; No. 23

Mustang Sally
Wilson Pickett

W Sir Mack Rice
P Jerry Wexler
R Nov. '66 on Atlantic
"MUSTANG SALLY" NEARLY ended up on the studio floor — literally. After Pickett finished his final take at Fame Studios in Muscle Shoals, Alabama, the tape suddenly flew off the reel and broke into pieces. But the session engineer, the legendary Tom Dowd, calmly cleared the room and told everyone to come back in half an hour. Dowd pieced the tape back together and saved what became one of the funkiest soul anthems of the Sixties.

Appears on: The Very Best of Wilson Picken (Rhino)

• 435 13 weeks; No. 8

Beast of Burden
The Rolling Stones

W Mick Jagger, Keith Richards
P The Glimmer Twins
R June '78 on Rolling Stones
BY 1978, THE STONES WERE in turmoil, after trouble with drugs, women and the law. On "Beast of Burden," they faced up to their adult struggles, with world-weary defiance propelling the ragged harmonies. On other takes -one lasting more than six minutes — Jagger tried the song in falsetto, but his straight-ahead version went to the Top Ten.

Appears on: Some Girls (Virgin)

• 436 3 weeks: Ha. 99

Alone Again Or
Love

W Bryan MacLean
P Arthur Lee, Bruce Botnick
R Jan. '68 on Elektra
THE PSYCHEDELIC COWboys of Love became famous for their dark, poetic L.A. folk rock. But "Alone Again Or" was written and partly sung by guitarist MacLean -who later left the band to join a Christian ministry — as a tribute to his mother's flamenco dancing. The final take is a decidedly trippy swirl of strings, horns and Spanish-style acoustic guitars.

Appears on: forever Changes (Rhino)

• 437 23 weeks: No. 1

Love Me Tender
Elvis Presley

W Presley, Vera Watson
P Steve Sholes
R Oct. '56 on RCA
"LOVE ME TENDER" WAS THE theme song from the first Elvis movie. It also represented a brandnew sound for the King. He sang in his softest voice, accompanied only by his own acoustic guitar. The melody came from the Civil War-era ballad "Aura Lee," adapted by the movie's musical director, Ken Darby, who gave credit to Watson, his wife.

Appears on: Elvis 30 #1 Hits (PCA)

• 438 Did not chart

I Wanna Be Your Dog
The Stooges

W Dave Alexander, Ron Asheton, Scott Asheton, IKY Pop
P John Cale
R August '69 on Elektra
THESE DETROIT PUNKS tapped into the brutal side of the blues for this primitive classic. They also give a one-note piano tribute to the Kinks' "You Really Got Me." Over the ultimate bone-crunching three-chord guitar riff, Iggy Pop screams about the agony of teenage hormones the way only Iggy Pop can.

Appears on: The Stooges (Elektra)

• 439 16 weeks: No. 8

Pink Houses
John Cougar Mellencamp

W Mellencamp
P Little Bastard, Don Gehman
R Oct. '83 on Riva
IN 1984, RONALD REAGAN tried to use "Pink Houses" for a campaign ad, not noticing the bitter heartland rage under the cheery chorus. Mellencamp refused — although he played it at John Edwards' nomination party this year. Recorded in a farmhouse in Brownstown, Indiana, the song was inspired by an old man "sitting on the porch of his pink shack," Mellencamp told ROLLING STONE. "He waved, and I waved back. That's how the song started."

Appears on: Uh-huh (Mercury)

• 440 25 weeks; No. 19

Push It
Salt-N-Pepa

W Hurby "Luv Bug" Azor
P Azor
R Nov. '87 on Next Plateau
IN 1985, AZOR RECRUITED fellow Sears employees Cheryl James and Sandy Denton, both from Queens, New York, for a musicschool project. With the addition of Dee Dee "Spinderella" Roper, Salt-N-Pepa became the first female MCs to crack the pop Top Twenty when this track was remixed by San Francisco DJ Cameron Paul. "Push It" was nominated for a Grammy, but Salt-N-Pepa boycotted the show when the rap category wasn't televised.

Appears on: Hot, Cool and vicious (London)

• 441 31 weeks: No. 5

Come Go With Me
The Dell-Vikings

W Clarence E. Quick
P Joe Averbach
R Feb.'57 on Dot
FIVE SOLDIERS FROM A PITTS-burgh Air Force base, the Dell-Vikings underwent several lineup changes because of shifting tours of duty and eventually became pop's first successful multiracial group, on the strength of "Come Go With Me." Bass smger Quick penned the song, which the group recorded one night in a Pittsburgh hotel room.

Appears on: Golden Classics (Collectables)

• 442 18 weeks; No. 8

Keep a Knockin'
Little Richard

W Richard Penniman
P Robert "Bumps" Blackwell
R Sept. '57 on Specialty
RICHARD WAS A HUGE FAN OF Louis Jordan, who recorded this song in 1939 (he got it from James Wiggins and 1930s bluesman Kokotno Arnold). Jordan's version was smooth jump blues, but Richard changea the rhythm from swing to stomp and packed in whooping vocals, a roaring saxophone and unbridled energy.

Appears on: The Georgia Peach (Specialty)

• 443 Did not chart

I Shot the Sheriff
Bob Marley and the Wailers

W Marley
P Chris Blackwell
R October '73 on Island
SINGERS MARLEY, PETER Tosh and Bunny Wailer saved some of their prettiest falsetto har- monies for one of the group's toughest songs, and in the process they woke up white rock audiences to the sound of the Wailers and reggae. Inspired by the Impressions' "Keep On Pushin'," Marley originally had the song's outlaw hero say "I shot the police" but imagined the song would be more government-friendly if he changed it to the revenge killing of a single sheriff. U.S. rock radio warmed up to the song when Eric Clapton covered it, scoring a Number One hit in the summer of 1974.

Appears on: Burnin' (Island)

• 444 14 weeks; No. 1

I Got You Babe
Sonny and Cher

W Sonny Bono
P Bono
R July '65 on Atco
SONNY AND CHER WERE living in their manager's house, where Bono would go down to the garage and bang out songs all night on an upright piano. One night, he woke up Cher and asked her to listen to his latest tune, "I Got You Babe," and sing the lyrics, which he had written on a piece of shirt cardboard. She thought it was OK but really wanted a song that modulated. So Bono changed the key at the bridge and woke Cher up once again hours later to hear it; she wasdelighted. Sonny and Cher had their first Top Forty hit, and their only Number One record.

Appears on: The Beat Goes On: The Best of Sonny and Cher (Atlantic)

• 445 18 weeks; No. 32

Come As You Are
Nirvana

W Kurt Cobain, Nirvana
P Butch Vig, Nirvana
R Sept. '91 on Geffen
"IT'S JUST ABOUT people and what they're expected to act like," Kurt Cobain told an interviewer when asked about the second major hit off Nevermind. "The lines in the song are really contradictory. One after another, they're kind of a rebuttal to each other." The track is driven by a simple, undeniably catchy riff that producer Vig goosed with a flanged, subaquatic guitar effect. Cubain created a stir when news surfaced that he'd lifted the main riff from a 1985 song by U.K. art-metal band Killing Joke, whom Dave Grohl "paid back" twelve years later by playing drums on their 2003 album.

Appears on: Nevermind (Geffen)

• 446 Did not chart

Pressure Drop
Toots and the Maytals

W Toots Hibbert
P Leslie Kong
R Feb. 73 on Mango
TOOTS AND THE MAY-tals were already huge reggae stars — they were credited with coining the very word on their 1968 "Do the Reggay" -when they released "Pressure Drop," in 1970 Rumor has it chat the Maytals were Island Records president Blackwell's first choice over Bob Marley and the Wailers when he looked to sign a reggae group to his label. But "Pressure Drop," and the band's career outside Jamaica, didn't really take off until the song was included on the soundtrack to the film The Harder They Come, in 1973, which introduced reggae to much of the world.

Appears on: The Harder They Come (Hip-0)

• 447 12 weeks; No. 1

Leader of the Pack
The Shangri-Las

W George "Shadow" Morton, Jeff Barry, Ellie
Greenwich
P Morton, Barry, Greenwich
R Oct. '64 on Red Bird
MORTON FOUND THE 1N-spiration for this song in a sang at a diner in Hicksville, New York. "Bikers, hot rodders, gumsmacking ladies," Morton said. "Not careful at all about their language and what they had to say." The Shangri-Las were the perfect girl group for Morton's song — drama queens in leather jackets, fitting for a story of a teenage girl who falls for a motorcycle dude. The other ingredients: pretty harmonies, spoken interludes, motorcycle sounds (recorded from a bike in the studio) and horrified shouts of "Look out!"

Appears on: Myrmidons of Melodrama: Definitive Collection (RPM)

• 448 Non-single

Heroin
The Velvet Underground

W Lou Reed
P Andy Warhol, Tom Wilson
R March '67 on Verve
THIS SEVEN-MINUTE, two-chord track on the Velvet Underground's first album spiked out its territory with lyrics about shooting up until you felt like Jesus' son. It nave the Velvets their dark image as New York decadents. "Heroin" speeds up and slows down, becoming a whirling spectacle of guitars and viola. "It wasn't pro or con," Reed said. "It was just about taking heroin from the point of view of someone taking it. I'm still not sure what 'was such a big deal. So there's a song called 'Heroin.' So what?" Drummer Moe Tucker disagreed: "I consider it our greatest triumph."

Appears on: The velvet Underground and Nico (Polydor)

• 449 10 weeks; No. 1

Penny Lane
The Beatles

W John Lennon, Paul McCartney
P George Martin
R Feb. '67 on Capitol
AFTER LENNON COM-posed his surreal "Strawberry Fields Forever," a song about his Liverpool childhood, McCartney wrote his own, snappy memoir. (Both songs were pulled from Sgt. Pepper and released as a single, with no indication as to which was supposed to be the A side; "Penny Lane" appeared later that year on the soundtrack album to Magical Mystery Tour.) The places named in the lyrics are all real: Penny Lane was a Liverpool bus stop where Lennon and McCartney would often meet. "John came over and helped me with the third verse, as was often the case," McCartney said. "We were writing childhood memories: recently faded memories from eight or ten years before."

Appears on: 1 (Capitol/Apple)

No. 450
By the Time I Get to Phonix
Gle Campball

11 weeks; No. 26

W Jimmy Webb
P Al de Lory
R Oct. '67 on Capitol
CAMPBELL WAS AN L.A. STUDIO musician who played on Phil Spector records and toured with the Beach Boys — until this 1967 single made him a star, won him a Grammy and earned him his own TV show. It also marked the beginning of his partnership with songwriter Webb. Campbell's take is mournful country, but two years later, Isaac Hayes recorded a nineteen-minute psychedelicsoul version.

Appears on: By the Time I Get to Phoenix (Capitol)

• 451 39 weeks (total); No. 1

The Twist
Chubby Checker

W Hank Ballard
P Karl Mann
R Aug. '60 on Parkway
"THE TWIST" BEGAN AS A B side for Ballard and the Midnighters in 1958, a throwaway dance-instruction song. But in 1960, former chicken plucker Checker covered it at Dick Clark's suggestion. It became so wildly popular that it hit Number One twice, first in '60, then again in '62 -the only single in history to accomplish that feat. "Going crazy is what I was looking for — where the music is so good you lose control," Checker said. "'The Twist' did that."

Appears on: Greatest Hits (Prime Cuts)

• 452 17 weeks; No. 12

Cupid
Sam Cooka

W Cooke
P Cooke, Hugo and Luigi
R July '61 on RCA
COOKE'S PRODUCERS HAD THE idea for him to do a song for a girl they had seen on a Perry Como TV show. "She didn't do anything but just look up at Perry Como in the most wistful-type manner," said J.W. Alexander, Cooke's business adviser. Cooke decided to drop in the sound of an arrow being fired "straight to my lover's heart" whenever the song called for it.

Appears on: Greatest Hits (RCA)

• 453 17 weeks; No. 5

Paradise City
Guns n' Roses

W Axl Rose, Duff McKagan, Izzy Stradlin, Slash, Steven Adler
P Mike Clink
R Aug. '87 on Geffen
"PARADISE CITY" ELevated Axl and Slash to rock's Mount Olvmpus. For nearly seven minutes, they expound on the joys of green grass, pretty girls and toxic chemicals. In a typically tasteful G n' R move, the video features footage of the band's 1988 gig at Castle Donington in the U.K. — where two fans were crushed to death.

Appears on: Appetite for Destruction

• 454 14 weeks; No. 1

My Sweet Lord
George Harrison

W Harrison
P Harrison, Phil Spector
R Nov. '70 on Apple
THE FIRST HIT FOR AN EX-Beatle, it features Harrison's teardrop slide licks and a melody virtually identical to the Chiffons' "He's So Fine."

Appears on: All Things Must Pass (Capitol)

• 455 22 weeks; No. 45

All Apologies
Nirvana

W Kurt Cobain
P Steve Albini
R Sept. '93 on Geffen
WRITTEN IN THE L.A. apartment Cobain shared with Court ney Love, this haunting meditation on remorse was orig' inally produced by punk malcontent Albini, but then R.E.M. producer Scott Litt was brought in to smooth it out. Cobain's shredded vocals maintain the punk edge in the hushed MTV Unplugged in New York rendition.

Appears on: In Utero (Geffen)

• 456 21 weeks; No. 1

Stagger Lee
Lloyd Price

W Price, Harold Logan
P Don Costa
R Nov. '58 on ABC-Paramount
STAGGER LEE 'WAS THE ORIGI-nal gangsta, celebrated by Delta bluesmen for decades before Price cut this song featuring Lee's bullet speeding through a victim and breaking a bartender's glass. When Price performed the song on American Bandstand, Dick Clark made him alter the lyrics so that Lee doesn't even draw his .44.

Appears on: Greatest Hits (Curb)

• 457 13 weeks; No. 81

Sheena Is a Punk Rocker
Ramones

W Ramones
P Tony Bongiovi, T. Erdelyi
R May '77 on Sire
THIS MASH NOTE TO SURFing, punk girls and New York was actually cut twice: first as a single that was rushed to radio and became one of the Ramones' few, modest hits, then in a slightly souped-up version for the band's third album, Rocket to Russia. "I combined Sheena, Queen of the Jungle with the primalness of punk rock," said singer Joey Ramone. "It was funny, because all the girls in New York seemed to change their names to Sheena after that."

Appears on: Rocket to Russia (Rhino)

• 458 15 weeks; No. 2

Soul Man
Sam and Dave

W Isaac Hayes, David Porter
P Haves, Porter
R Sept. '67 on Stax
FOR THE FOLLOW-UP TO "Hold On, I'm Comin'," writer-producers Hayes and Porter decided to tinker with their winning formula: Porter asked singer Sam Moore to give him "the Bobby Bland squall," guitarist Steve Cropper came up with the licks that set up the familiar blast of the Memphis Horns, and — voilà! — another Memphis soul classic was born. "We had no idea how good we were," Hayes said of the partnership.

Appears on: Soul Men (Rhino)

• 459 Predates pop charts

Rollin' Stone
Muddy Waters

W McKinley Morganfield
P Leonard and Phil chess
R 1948 on Chess
FOR THE FIRST SINGLE ever on Chess Records, Waters reworked Mississippi bluesman Robert Petway's "Catfish Blues" into a spare, spooky track he named "Rollin' Stone." "We wouldn't do it exactly like those older fellows," Waters said. "We put the beat with it. put a little drive to it." The Rolling Stones took their name from the title, as did, in part, this magazine; Bob Dylan tipped his hat with "Like a Rolling Stone."

Appears on: The Anthology: 1947-1972 (Chess/MCA)

• 460 10 weeks; No. 5

One Fine Day
The Chiffons

W Gerry Goffin, Carole King
P The Tokens
R June '63 on Laurie
WHEN KING SUBMITTED a demo of this song to the Tokens — the production team behind the Chiffons — they wanted to release a single immediately. "But I can't sing," King said. So the Tokens kept King's music, erased her voice and added vocals by this group of Bronx high schoolers. A year later, the girls were on the road with the Beatles. King got sweet redemption in 1980, when her own version reached the Top Twenty.

Appears on: The Best of the Chiffons (DJ Specialist)

• 461 18 weeks; No. 1

Kiss
Prince and the Revolution

W Prince and the Revolution
P Prince and the Revolution
R Feb. '86 on Paisley Park
THE PAISLEY PARK BAND Mazarati asked Prince for a song for their debut, so he took a break from his Parade sessions and dashed off a bluesy acoustic demo for them on a mini tape recorder. When Mazarati came up with an irresistible funk groove, Prince was smart enough to take the song right back.

Appears on: Parade (Warner Bros.)

• 462 14 weeks; No. 12

Respect Yourself
The Staple Singers

W Luther Ingram, Mack Rice
P Al Bell
R Oct. '7l on stax
STAX SINGER INGRAM, frustrated with the state of the world, told house songwriter Rice "black folk need to learn to respect themselves." Rice liked the comment so much that he built a. funk groove around it, then gave the song to the Staples. "This is the song I've been waiting [for]," said producer Bell.

Appears on: Bealtitude: Respect Yourself (Stax)

• 463 7 weeks; No. 23

Rain
The Beatles

W John Lennon, Paul McCartney
P George Martin
R June '66 on Capitol
THE B SIDE OF "PAPER-back Writer" was this blurry, aggressive song: Lennon's response to people moaning about the wet British weather. It featured one of the earliest uses of backward tape, which Lennon said was the result of being stoned and accidentally spooling up the tape wrong. It also included a virtuoso performance from Ringo Starr. "I feel as though that was someone else playing," he said. "I was possessed!"

Appears on: Past Masters, Volume 2 (Capitol)

• 464 10 Weeks: No. 6

Standing in the Shadows of Love
The Four Tops

W Brian Holland, Lamont Dozier, Eddie Holland
P Brian Holland, Dozier
R Dec. '66 on Motown
LIKE SO MANY Motown hits, "Standing" features the bass of James Jamerson, possibly rock & roll's most influential bassman. He was such a monster on his instrument, his fellow Motown musicians called him "Igor"; Marvin Gaye called him a genius.

Appears on: The ultimate Collection (Motown)

• 465 8 weeks; No. 62

Surrender
Cheap Trick

W Rick Nielsen
P Tom Werman
R May '78 on Epic
CHEAP TRICK PROVIDED the ultimate Seventies teen anthem in "Surrender," complete with a verse about a kid who catches his parents making out and getting stoned to his Kiss records. How did guitarist-songwriter Nielsen do it? "I [had] to go back and put myself in the head of a fourteen-year-old."

Appears on: Heaven Tonight (Epic)

• 466 17 weeks; No. 1

Runaway
Del Shannon

W Shannon, Max Crook
P Harry Balk, Irving Micahnik
R March '61 on Big Top
AS A KID GROWING UP IN Michigan, Shannon got his first guitar for five dollars. His truck-driver dad wasn't too happy about it. " 'You get that goddamn guitar outta here' — that's the exact words my father used," Shannon recalled. "How-ever, my ma said, 'It's OK, son. You can sing for me.'" Shannon sang with raw emotion in this hit, as co-writer Crook played the historic solo on an early electronic keyboard called the Musitron.

Appears on: Greatest Hits (Rhino)

• 467 17 weeks: No. 7

Welcome to the Jungle
Guns n' Roses

W Guns n' Roses
P Mike Clink
R Aug. '87 on Geffen
IN WHICH GN'RBECKONED listeners into their sordid Hollywood milieu. Guns' five-year reign as the globe's biggest rock band begins here.

Appears on: Appetite for Destruction (Geffen)

• 468 Did not chart

Search and Destroy
The Stooges

W Iggy Pop, James williamson
P David Bowie
R April '73 on Columbia
WITH "RAW POWER," producer Bowie tried to mold the Detroit punks into glam-rock stars like himself. The mixed-bag experiment yielded this feral rocker, inspired by a headline from an article about the Vietnam War. The "streetwalking cheetah with a heart full of napalm" is Iggy Pop himself, who said he wrote it while wearing his cheetah-patterned leather jacket and "snorting big Chinese rocks of heroin."

Appears on: Raw Power (Epic)

• 469 17 weeks; No. 1

It's Too Late
Carole King

W Toni Stern, King
P Lou Adler
R NOV. '70 on Ode
AFTER SPENDING THE SIX-ties in New York writing hits for the likes of the Drifters with then-husband Gerry Goffin, King split for the West Coast and began writing for herself. "I want to make LPs," she said, "I don't want to be a star." She poured her heart into "It's Too Late," a divorce ballad featuring the unlikely hook "Somethin" inside has died." "I have never felt that ray being a woman was an obstacle or an advantage," she said.

Appears on: Tapestry (Epic/Legacy)

• 470 14 weeks; No. 22

Free Man in Paris
Joni Mitchell

W Mitchell
P Mitchell, Henry Lewy
R Feb. '74 on Asylum
MITCHELL TOLD "ROLL-ing Stone" that Court and Shark marked a "turning point" for her. "I perceived my inability to love," she said. "It horrified me." She put her fear into the jazzy beauty of "Free Man in Paris." Rumor had it the "Free Man" of the song was her label boss at the time, David Geffen.

Appears on: Court and Spark (Elektra)

• 471 20 weeks; No. 20

On the Road Again
Willie Nelson

W Nelson
P Nelson
R Aug. '80 on Columbia
ON A PLANE TRIP, THE EX-ecutive producer of Nplson's movie Honeysuckle Rose asked him to contribute a tune about life on tour. He quickly scrawled down the lyrics for "On the Road Again." "I like to show off occasionally," said Nelson, who still spends some 200 days a year on tour.

Appears on: The Essential Willie Nelson (Sony)

• 472 14 weeks; No. 1

Where Did Our Love Go
The Supremes

W Brian Holland, Lamont Dozier. Eddie Holland
P Brian Holland, Dozier
R June '64 on Motown
AFTER EIGHT FLOP SIN-gles, the Supremes had earned the nickname "No-Hit Supremes." The Marvelettes — the top girl group at Motown at that point — had already passed on this song, and the Supremes didn't like how their own recording turned out. Until it hit Number One, that is. As for that great foot-stomping beat, it's actually two boards banged together.

Appears on: The Ultimate Collection (Motown)

• 473 11 weeks; No. 9

Do Right Woman — Do Right Man
Aretha Franklin

W Chips Woman, Dan Penn
P Jerry Wexler
R March '67 on Atlantic
FRANKLIN WENT AWOL on producer Wexler after she took off from a 1967 recording session at Fame Studios in Muscle Shoals, Alabama, leaving him with an incomplete version of this simmering R&B ballad. A few weeks later, Franklin resurfaced at Atlantic Studios in New York to lay down her lead vocal. The result, as Wexler put it, was "perfection."

Appears on: I Never Loved a Man the Way I Love you (Rhino)

• 474 14 weeks; No. 28

One Nation Under a Groove — Part I
Funkadelic

W George Clinton, Carry Shider, Walter Morrison
P Clinton
R Sept. '78 on Warner Bros.
"TO ME, DISCO WAS LIKE fucking with one stroke." Clinton told ROLLING STONE. "All they did was take one funk beat and sanitize it to no end." But in 1978, Clinton recruited keyboardist Junie Morrison, formerly of the Ohio Players, for this polyrhythmic manifesto. Clinton's thesis: "Here's a chance to dance our way out of our constrictions."

Appears on: One Nation Under a Groove (Capitol)

No.475
Sabotage
Beastie Boys

Did not chart

W Beastie Boys
P Beastie Boys, Mario Caldato Jr.
R May '94 on Grand Royal
ADAM "MCA" YAUCH CAME UP WITH THE KILLER FUZZ-bass riff at Manhattan's Tin Pan Alley studio, but the song was finished a year later in L.A. With two weeks to go before Ill Communication was completed, Adam "Adrock" Horovitz got all hot and bothered about paparazzi on the mike.

Appears on: III Communication (Capitol)

• 476 21 weeks; No. 1

I Want to Know What Love Is
Foreigner

W Mick Jones
P Jones, Alex Sadkin
R Nov. '84 on Atlantic
THIS GOSPEL-ROCK HYMN featured the New Jersey Mass Choir. Said Jones, "I'll always remember them getting in a circle before we did it and everyone saying the Lords Prayer.' That probably didn't happen with "Hot Blooded" -but this became Foreigner's biggest hit.

Appears on: Agent Provocateur (Atlantic)

• 477 24 weeks; No. 16

Super Freak
Rick James

W James, Alonzo Miller
P James
R Aug. '81 on Gordy
JAMES WASN'T EXACTLY modest about his ambitions. As he declared in 1981, 'I wanna make Paul McCartney white-boy money!" He got it with the self-described punk funk" of "Super Freak." He enlisted Motown vets the Temptations on vocals. James died this past summer, but "Super Freak" lives on.

Appears on: Street Songs (Motown)

• 478 10 weeks; No. 8

White Rabbit
Jefferson Airplane

W Grace Slick
P Rick Jarrard
R Sept. '67 on RCA
"WHITE RABBIT" WAS A trippy rock &? roll bolero written by Airplane vocalist Slick. "Our parents read us stories like Peter Pan, Alice in Wonderland and The Wizard of Oz," Slick said. "They all have a place where children get drugs, and are able to fly or see an Emerald City or experience extraordinary animals and people. . . . And our parents are suddenly saying, 'Why are you taking drugs?' Well, hello!"

Appears on: Surrealistic Pillow (RCA)

• 479 18 weeks; No. 1

Lady Marmalade
LaBelle

W Bob Crewe, Kenny Nolan
P Allen Toussaint
R Jan. '75 on Epic
THIS DISCO HIT ABOUT A Big Easy streetwalker is still in rotation nearly thirty years after it hit Number One. The group was from Philadelphia, but the nasty groove was classic New Orleans, with producer Toussaint and his house band, legendary R&B stalwarts the Meters, funking up the beat. Thanks to the three ladies of LaBelle, every disco fan now knows at least one line of French: "Voulez-vous coucher avec moi?"

Appears on: Nightbirds (Epic)

• 480 Non-single

Into the Mystic
Van Morrison

W Morrison
P Morrison
R March '70 on Warner Bros.
"INTO THE MYSTIC" IS ONE of Morrison's warmest ballads, an Otis Redding- style reverie with acoustic guitar and horns. The lyrics are truly mysterious: "People say, 'What does this mean?' " said Morrison. "A lot of times I have no idea what I mean. That's what I like about rock & roll — the concept. Like Little Richard — what does he mean? You can't take him apart; that's rock & roll to me."

Appears on: Moondance (Warner Bros.)

• 481 11 weeks; No. 28

Young Americans
David Bowie

W Bowie
P Tony Visconti
R March '75 on RCA
IN 1975, BOWIE TRADED HIS glammed-out Ziggy Stardust persona for an album of what he called "plastic soul." Yet this R&B homage is one of his warmest. wildest tales, recorded in Philadelphia with a then-unknown Luther Vandross on backing vocals. "It's about a newlywed couple who don't know if they really like each other," Bowie said.

Appears on: Young Americans (Virgin)

482 13 weeks; No. 2l

I'm Eighteen
Alice Cooper

W Michael Bruce, Glen Buxton, Cooper, Dennis
Dunway, Neal Smith
P Bob Erzin, Jack Richardson
R Feb. '71 on Warner Bros.
BEFORE "I'M EIGHTEEN," Cooper was just another hairv rock oddball. But this proto-punk smash defined the age when, in Cooper's words, you're "old enough to be drafted but not old enough to vote." Years later, Johnny Rotten sang this at his audition for the Sex Pistols; by then, Cooper was a guest on The Muppet Shaw.

Appears on: Love It to Death (Warner Bros.)

• 483 19 weeks; No. 49

Just Like Heaven
The Cure

W Robert Smith, Simon Gallup, Porl Thompson, Lol Tolhurst, Boris
Williams P David Allen, Smith R May '87 on Elektra
"I'VE NEVER BEEN A BIG FAN of irony," Smith has said, which might explain why this reverie of love, cut at a vineyard in the South of France, is his favorite Cure song. Their girlfriends hung out at the sessions, which influenced the music. "The girls would sit on the sofa in the back of the control room and give the songs marks out often," Smith said. "So there was a really big female input." It was the Cure's first U.S. Top Forty hit.

Appears on: Kiss Me, Kiss Me, Kiss Me (Elektra)

• 484 20 weeks; No. 1

I love Rock 'N Roll
Joan Jett and the Blackhearta

W Jake Hooker, Alan Merrill
P Ritchie Cordell, Kenny Laguna
R Jan. '82 on Boardwalk
ATTEMPTING TO JUMP-START a solo career after her stint in teenage rock band the Runaways, Jett was turned down by twenty-three record labels as she shopped around the demo tape to "I Love Rock 'N Roll." She finally cut the song for tiny Boardwalk Records, but that label's execs weren't sure that Jett's riff-rocker was a hit — she was able to buy the radio rights to the track for $2,500. Today, Jett is a girlrock icon and the song is worth nearly $20 million.

Appears on: I Love Rock 'N Roll (Blackhcart)

• 485 7 weeks; No. 81

Graceland
Paul Simon

W Simon
P Simon
R Sept. '86 on Warner Bros.
SIMON RECORDED GRACE-land" with South African mbaqanga musicians; he also got backup harmonies from his heroes, the Everly Brothers. But he didn't think of "Graceland" as the album's title song until late in the process. "I thought it was distracting," he said. "I figured people would think I'm writing about Elvis Presley, and this is a South African record."

Appears on: Graceland (Rhino)

• 486 Did not chart

How Soon Is Now?
The Smiths

W Johnny Marr, Morrissey
P John Porter
R Feb. '85 on Sire
MORRISSEY CRIBBED THE line "The heir to nothing in particular" from George Eliot's Middlemarch. But guitarist Marr had another reference in mind: Derek and the Dominos. "I wanted an intro that was almost as potent as 'Layla,'" he said. "When [it] plays in a club or a pub, everyone knows what it is." Mission accomplished.

Appears on: Meat Is Murder (Warner Bros.)

• 487 33 weeks: No. 4

Under the Boardwalk
The Drifters

W Arthur Resnick, Kenny Young
P Bert Berns
R June '64 on Atlantic
RELEASED IN JUNE 1964 AND replayed on beach-town jukeboxes every sum-mer since, "Under the Boardwalk" evokes the carefree sounds of the shore. But its recording was no day at the beach. Johnny Moore was drafted to sing lead because the track's original singer, Rudy Lewis, died of a heroin overdose in his hotel room the night before the session.

Appears on: The Very Best of the Drifters (Rhino)

• 488 18 weeks; No. 11

Rhiannon (Will You Ever Win)
Fleetwood Mac

W Stevie Nicks
P Fleetwood Mac, Keith Olson
R Aug. '75 on Reprise
"THE LEGEND OF RHIANnon is about th song of the birds that take away pain, Nicks said in 1980. "That's what music is to me. I don't want any pain." After reading about the Welsh witch Rhiannon, Nicks wrote this song for her, saying, "If I didn't know she was a mythological character, I would think she lived down the street."

Appears on: Fleetwood Mac (Reprise)

• 489 27 weeks; No, l

I Will Survive
Gloria Gaynor

W Dino Fekaris, Freddie Perren
P Fekaris, Perren
R Dec. '78 on Polydor
IN 1979, GAYNOR'S CAreer was falling apart. Donna Summer had replaced her as the leading disco diva, and the thirty-two-year-old Gaynor had recently suffered the death of her mother as well as spinal surgery. So when she belted out "I Will Survive," a song about perseverance, she brought extra attitude. The track was originally a B side, but after enterprising DJs started to play it at discos, it turned into a smash.

Appears on: I will Survive: The Anthology (Polygram)

• 490 12 weeks No. l

Brown Sugar
The Rolling Stones

W Mick Jagger, Keith Richards
P Jimmy Miller
R April '71 on Rolling Stones
HERE THE STONES LAY waste to a battery of taboo topics — slavery, sadomasochism, interracial sex — and still manage to be catchy as hell. The song got its start at a session at Muscle Shoals studios: Jagger scrawled three verses on a stenographer's pad, and Richards followed with an impossibly raunchy riff. Add some exultant punctuations ("Yeah! Yeah! Woooo!") and you have a Stones concert staple.

Appears on: Sticky Fingers (Virgin)
• 491 13 weeks; No. 4

You Don't Have to Say You Love Me
Dusty Springfield

W Giuseppe Donaggio, Simon Napier-Bell, Vito Pallavicinil, Vicki
Wickham P John Franz R May '66 on Philips
BRITISH POP DIVA SPRING-field first heard "Io Che No Vivo Senza Te" at the 1965 San Remo song festival in Italy. She asked TV producer Wickham to write some English lyrics for it; Napier-Bell, the Yardbirds' manager, chipped in, and the result was this amazing slice of symphonic pop. Springfield later called it "good old schmaltz."

Appears on: The Very Best of Dusty Springfield (Polygram)
• 492 17 weeks; No. 11

Running On Empty
Jackson Browne

W Browne
P Browne
R Jan. '77 on Asylum
"RUNNING ON EMPTY" WAS Browne's grand experiment: a live album of allnew songs recorded onstage, in hotel rooms and on the tour bus. The title track was actually written when Browne was driving back and forth to the studio each day to make The Pretender. "I was always driving around with no gas in the car," he said. "I just never bothered to fill up the tank because-how far was it anyway? Just a few blocks."

Appears on: Running On Empty (Elektra)

• 493 12 weeks; No. 6

Then He Kissed Me
The Crystals

W Jeff Barry, Ellie Greenwich, Phil Spector
P Spector
R Aug. '63 on Philles
THE ORIGINAL CRYSTALS had cut "He Hit Me (and It Felt Like a Kiss)" for Spector, but a whole new set of Crystals made the follow-up, "He's a Rebel." The original lineup returned for this classic, often credited as the record where Spector perfected his towering Wall of Sound.

Appears on: The Best of the Crystals (ABKCO)

• 494 Non-single

Desperado
The Eagles

W Glenn Frey, Don Henley
P Bill Szymczyk
R April '73 on Asylum
"DESPERADO" WAS THE title track of the Eagles' second LP, a concept album about outlaws in the Old West. "In retrospect, I admit the whole cow-boy-outlaw-rocker myth was a bit bogus," Henley said in 1987. "I don't think we really believed it; we were just trying to make an analogy."

Appears on: Desperado (Elektra)

• 495 16 weeks; No. 2

Shop Around
Smokey Robinson and the Miracles

W Berry Gordy, Robinson
P Gordy
R Dec. '60 on Tamla
ROBINSON INITIALLY thought Barrett Strong should do "Shop Around," but Gordy convinced Robinson that he was the right man for the song. After they recorded and released it, Gordy heard it on the radio and found it way too slow. So he woke Robinson at 3 A.M. and called him back to the studio to re-cut it, faster and with Robinson more prominent. That one worked.

Appears on: The ultimate Collection (Motown)

• 496 20 weeks; No. 1

Miss You
The Rolling Stones

W Mick Jagger, Keith Richards
P The Glimmer Twins
R May '78 on Rolling Stones
WITH CHARLIE WATTS channeling a disco groove, "Miss You" became the band's first Number One hit in five years. "It's not really about a girl," Jagger said. "The feeling of longing is what the song is."

Appears on: Seme Girls (Virgin)

• 497 21 weeks; No. 18

Buddy Holly
Weezer

W Rivers Cuomo
P Ric Ocasek
R Aug. '94 on DGC
IN THE EARLY 1990s, Cuomo had an awkward girlfriend who was routinely picked on. His efforts to stick up for her inspired Weezer's breakthrough, a track whose bubble-grunge hooks and lines such as "I look just like Buddy Holly/And you're Mary Tyler Moore" helped the band reach a nation of pop-minded suburban punks. It also earned them personalized, autographed photos from the real Mary Tyler Moore.

Appears on: Weezer (Geffen)

• 498 15 weeks; No. 4

Rainy Night in Georgia
Brook Benton

W Tony Joe white
P Arif Mardin
R Jan. '70 on Cotillion
IT'S BEEN CALLED "ONE OF the most lonesome songs ever to grace the Top Ten": Benton's intimate baritone set over crying violins, crashing horns, and dolorous organs and guitars. The soul ballad was written by swamp-rocker White, who had hit big with his own "Polk Salad Annie." "I knew about rainy nights in Georgia," White once said, "because I drove a dump truck for the highway department."

Appears on: Greatest Hits (Prime Cut)

• 499 17 weeks; No. 12

The Boys Are Back in Town
Thin Lizzy

W Phil Lynott
P John Alcock
R March '76 on Mercury
THIN LIZZY'S LYNOTT sang the hard-rock drama of "The Boys Are Back in Town" with the Gaelic soul of a self-described "black Irish bastard" (his mother was Irish; his father was a Brazilian sailor). Just as crucial to the song's success was the twin-guitar lead by Scott Gorham and Brian Robertson. Lynott died from years of drug abuse in 1986; he remains a beloved Springsteen-like figure in Ireland.

Appears on: Jailbreak (Mercury)

No. 500
More Than a Felling
Boston

19 weeks; No. 5

W Tom Scholz, John Boylan
P Scholz
R Sept. '76 on Epic
INSPIRED BY THE HEART-tugging mood of the Left Banke's "Walk Awav Renee." Polaroid engineer Scholz tinkered with this anthem for five years in his basement studio. Driven by an epochal riff and Brad Delp's skyscraper vocals, "Feeling" helped Boston sell more than 17 million copies — and inspired the riff for Nirvana's "Smells Like Teen Spirit."

Appears on: Boston (Epic)

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