‘Forever Young’ (by Alphaville)
On the surface, this is a hopeful song celebrating
the virtues of youth, but a closer listen reveals a fear of aging and death.
The song was written during the Cold War, where the singer is "hoping for
the best, but expecting the worst; are you gonna drop the bomb or not?"
Alphaville was a German Synthpop/Rock music group.
The song was not a big hit when it was released, but has become well known as a
result of its use in movies and TV shows. Among its uses:
The TV show It's Always Sunny in Philadelphia
(episode 103: "Underage Drinking: A National Concern")
Queer As Folk (season 1, episode 18)
One Tree Hill (season 4, episode 16).
The movie Listen To Me
Napoleon Dynamite in the school dance scene.
commercials for Saturn ION automobiles.
A year after this was released, Laura Branigan
covered it for her album Hold Me and began performing it as an encore at her
concerts. The Canadian dance group Temperance recorded the song in 1996.
In 2005 the Australian band Youth Group recorded
this for an episode of the TV show The O.C.. Their release was a hit in
Australia.
‘Human Nature’
(by Michael Jackson)
"Human Nature" was written by Steve
Porcaro, keyboardist with the band Toto. "I had written the song for my
daughter Heather. Something had happened at school and it just inspired me. I
wrote the song while we were mixing "Africa" and was just tinkering
on the piano and wrote 'Human Nature.' It was one of a batch of three songs I
had written in a certain time period. I had written the lyrics, which were the
same verse I was singing over and over again. I had the 'why, why' chorus with
the slap echo. Like most of my songs it was an unfinished song."
Steve Porcaro and fellow Toto member David Paich
worked with producer Quincy Jones on the Thriller album, doing some synthesizer
programming and playing. Said Porcaro: "Quincy had been asking David for
songs and he was sending a messenger almost every day to David's house - where
I was living at the time - to pick up anything David was working on. And so
David was sending him stuff. One time, he had gotten a call that the messenger
was on his way and he called down to me and told me to throw something we'd
been working on onto a cassette. I didn't have any blank cassettes, so I took a
cassette that had 'Human Nature' on one side and turned the B-side over,
rewound it and put on these two songs of David's. and then gave them to the
messenger."
Jones played both sides of the cassette and was
excited about "Human Nature." Quincy called David the next day and
was raving about this tune that went 'why, why.' It took David half an hour to
tell Quincy that it wasn't his song! But the song was incomplete lyric-wise and
Jones asked Porcaro to finish them. Porcaro recalls: "I forced myself to
write the lyrics and Quincy was less than thrilled with them and he asked me if
I would mind if he brought in John Bettis to finish them. I was completely
thrilled with what John did with the lyrics."
Quincy Jones assembled an impressive array of talent
to work on the Thriller album, including four members of the band Toto. These
guys knew the ropes because they were session musicians before they formed the
band, and in 1982 they were red hot, scoring hits with "Rosanna" and
"Africa" from their album Toto IV, which would win the Grammy for
Album of the Year at the 1983 ceremony (Thriller would win the next year).
Four members of the band played on this track:
David Paich: synthesizer
Steve Porcaro: synthesizer
Steve Lukather: guitar
Jeff Porcaro: drums
Paich, Steve Porcaro and Lukather also did the
arrangement.
In our interview with David Paich, he explained that
Jackson gave them lot of support and creative freedom. "Michael was very
involved in it, and he's a perfectionist," said Paich. "He was always
in the room with us, privately, saying, 'I just want you to have total freedom
to do whatever you want. Just think of Michelangelo painting the Sistine Chapel
- do whatever you need to do here. Sky's the limit.'"
The Jazz legend Miles Davis recorded this song in
1985. Steve Porcaro was thrilled when he first heard Miles' version of his
tune. "My father was a jazz musician and when I was growing up, most of
the music we heard in our household was classical music and jazz - Miles Davis.
He was my father's hero. My brother Jeff learnt to play drums listening to 'Bag's
Groove.' Miles Davis was ingrained in all of us, so I was completely thrilled.
I was so honored. I remember doing a session with the bassist Neil Stubenhaus
about six months after Miles did You're Under Arrest. He just cornered me and
said 'do you realize how great it is to have Miles do one of your tunes? Do you
have any idea what it means?' I certainly did. It's one of the things I'm most
proud of out of everything I've done."
In 1985, Miles moved to Warner Brothers records and
teamed with Porcaro to record new material for his first Warner album. They
went to Toto drummer Jeff Porcaro's studio (The Villa) and tried recording
"Exist" and "Walk of Life," but the sessions were
unsuccessful. While at The Villa, Miles ended up playing on the Toto tune
"Don't Stop Me Now." (Thanks to George Cole, author of The Last
Miles: The Music of Miles Davis, 1980-1991. Cole interviewed Steve Porcaro for
the book.)
This was the fifth of seven singles released from
the Thriller album. All of them made the Top 10 in the US.
In 1993, SWV (Sisters With Voices) hit #2 in the US
with a medley of this song combined with their own release "Right
Here."
Sheryl Crow performed with Michael Jackson on his
Bad tour, joining him on stage for "The Way You Make Me Feel" and
"I Just Can't Stop Loving You." In 2010, she told Rolling Stone,
"My favorite memory of Michael was watching him do 'Human Nature' every
night. he'd cry, and those tears were so directly linked to the wounds that
drove him to anesthetize himself."
On November 7, 2008, Britney Spears and Madonna
performed this at Madonna's Dodger Stadium concert in Los Angeles. Justin
Timberlake also performed at the show, joining Madonna on stage for "4
Minutes."
‘The Greatest
love of all’ (by Whitney Houston)
This was written by songwriters Michael Masser and
Linda Creed. Linda Creed was recovering from breast cancer when they wrote the
song in 1977. Originally recorded by George Benson, his version went to #24 in
the US. In 1985, the song was revived by Whitney Houston, and on May 17, 1986,
it went to #1 for the first of three weeks.
Creed's cancer claimed her life on April 10, 1986.
She was later inducted into the Songwriters Hall of Fame on the strength of
this song and the many hits she co-wrote for The Spinners, The Stylistics, and
other acts on the Philadelphia International label. Phil Hurtt, who also wrote
for the label, told us, "There are thousands of ways to say I Love You,
and the difficulty is trying to find a nuance, a new way to say what's been
said thousands of times, and Linda Creed is someone who was able to do that.
Masser and Creed wrote this for the 1977 film
biography of Muhammad Ali, The Greatest, and the song first appeared on the
film's soundtrack recorded by George Benson. Ali played himself in the movie,
essentially recreating his defining moments intercut with clips of his actual
fights. Ali was the heavyweight champ at the time of the film's release.
Houston's version was originally the B-side of
"You Give Good Love" but the amount of airplay it received persuaded
Arista to release it as a single.
‘Let’s go
crazy’ (by Prince)
The lyrics are about getting through life and the
battle against evil, Satan being the de-elevator. We are encouraged to not
allow the devil to break us down and instead to turn to God to help us by going
crazy and punching a higher floor (God).
This is the opening song from Prince's film Purple
Rain. The album was a soundtrack to the film, and a huge hit, spending 24 weeks
at #1 in America. Much of the movie takes place at a club where Prince performs
- these scenes were shot at the First Avenue nightclub in Minneapolis, where
Prince really was a regular player. When Prince and his band, The Revolution,
embarked on their tour to promote the album, they used most of the choreography
from their film performance of this song for their concert performances.
The beginning of this song is one of the most famous
spoken intros in pop history. Prince takes the persona of a preacher and is
joined by a church organ as he gives what amounts to a sermon, reminding us
that we should enjoy this life, knowing that we can look forward to a world of
never-ending happiness when we die. Credit this to George Clinton, who did many
similar bits ("free your mind, and your ass will follow...") with
P-Funk.
The rock band Incubus recorded a cover for their
2009 two-CD compilation album Monuments and Melodies. It was released as the
second single from the set.
Following Prince's death, The Minnesota Wild ice
hockey team made the decision to honor him by playing this song when
celebrating goals at their home stadium. The song was chosen after a fan poll
was conducted to help find a goal theme to replace Joe Satriani's "Crowd
Chant."
Bruno Mars, dressed in full Prince regalia,
performed this in tribute to Prince, who died the previous year, at the Grammy
Awards in 2017.
‘Material Girl’
(by Madonna)
This was written by the songwriters Peter Brown and
Robert Rans. The song is about a woman who craves the finer things in life and
will manipulate men to get them. Like A Virgin was only Madonna's second album,
and she was still developing her image. Much to her dismay, "Material
Girl" became Madonna's nickname, but over the next few years she was able
to dissociate from the song and establish many new looks. Later in her career,
Madonna wrote and recorded many more substantive and personal songs, and
adapted a lifestyle that stressed harmony and mindfulness over materialism and
excess. This is apparent in her 2003 song "American Life."
The video re-created a classic scene from the movie
Gentlemen Prefer Blondes, with Madonna as the Marilyn Monroe character. MTV
played the video constantly, which associated Madonna closely with the song.
Fortunately for her, "Like A Virgin" was an even bigger hit, and
after she performed that song on the MTV Video Music Awards she became much
more identified with that one.
Mary Lambert, who worked on most of Madonna's early
videos, directed the clip, but Keith Carradine portrayed the director in the
video (this "film within a film" concept was an early MTV staple,
first seen in the Human League video for "Don't You Want Me"). He is
the son of actor John Carradine and half-brother of David, but despite his
pedigree, this video may have been his biggest role. He did have a hit song
called "I'm Easy" in 1976.
The song and video were widely misinterpreted as
Madonna playing a capricious gold digger. The video concept was Madonna as an
actress playing this role, but as soon as she's off camera, she's a regular gal
who likes the simple things - we see her drive off with a regular dude in a
crappy car. The irony was lost on or ignored by journalists looking for a
storyline or moniker for Madonna, so the name and the image stuck.
In a 2009 interview with Rolling Stone, Madonna was
asked about her first impressions hearing the demos for this song and
"Like A Virgin." She replied: "I liked them both because they
were ironic and provocative at the same time but also unlike me. I'm not a
materialistic person, and I certainly wasn't a virgin." Expanding on her
"not materialistic" statement, she said, "I feel lucky to be
able to afford a Frida Kahlo painting or live in a nice house, but I know that
I can live without it. I'm resourceful, and if I ended up in a log cabin in the
middle of the forest, that would work too. These things are not mandatory for
my happiness."
The video shoot for this song was where Madonna
first met her future husband, Sean Penn. The connection was Meegan Lee Ochs,
who was working on the shoot and had been Penn's assistant (she's also the
daughter of the late folk singer Phil Ochs). Penn came by the shoot and got his
first look at Madonna when she was in full costume.
The characters on Sesame Street did a version of
this song called "Cereal Girl."
In 2010, Madonna and her 13-year-old daughter
Lourdes launched their "Material Girl" juniors clothing line at
Macy's. Many of the looks are inspired by Madonna's '80s outfits.
‘I just called
to say I love you’ (by Stevie Wonder)
This was featured in the movie The Woman In Red,
starring Kelly LeBrock as the woman and Gene Wilder as the married man who is
mesmerized by her. Stevie wrote the score for the movie. He got the gig after
Dionne Warwick, who was working on the soundtrack, suggested him to the
producers of the film. Wonder ended up contributing songs as well, and the
soundtrack contains songs from both Stevie and Dionne. The movie's producers
rejected some demos written by Jay Graydon and David Foster, and one of those
songs became "Who's Holding Donna Now," which was a hit for El
DeBarge.
This is Motown's biggest-selling single ever in the
UK, where it was Wonder's first #1. It was his eighth #1 in the US
This won the Oscar for Best Original Song, beating
out "Against All Odds (Take A Look At Me Now),"
"Footloose," "Let's Hear It For The Boy" and
"Ghostbusters."
Wonder claimed that he wrote the music for this song
in 1978, and then "modernized" it when he added lyrics for the
soundtrack. Wonder is an extremely prolific composer and was constantly coming
up with songs that he would sometimes revisit much later.
In the 2000 movie High Fidelity, this is the subject
of a rant by a character played by Jack Black. In the film, a man walks into
the record store and asks for this song so he can give it to his daughter.
Black's character, who is working there, scolds him for wanting such and awful
song and goes on to explain that his daughter probably hates it and it was
clearly the low point of Wonder's career.
Wonder had moved to a much more adult contemporary
sound when he released this song. His early hits like "Superstition"
and "Higher Ground" were often filled with funk, but in the '80s,
songs like this one and "Part-Time Lover" had a smoother sound, resulting
in big hits, but disappointment for those hoping for a classic Wonder groove.
Stevie sang some of this when he made an appearance
on The Cosby Show in 1986. The episode was called "A Touch of
Wonder," and was later cited by Ahmir "Questlove" Thompson as an
inspiration to many young musicians who became interested in samplers and
making music after seeing Wonder on the show.
‘Call me’ (by
Blondie)
This song is about a prostitute. It was featured in
the film American Gigolo in a scene where the lead character is
"working."
European disco producer Giorgio Moroder wrote this
with Blondie lead singer Debbie Harry, who thus became the first woman in British
chart history to write three #1 hits. However she hadn't been Moroder's first
choice. The Italian disco king had originally wanted Stevie Nicks to provide
vocals on the track but the Fleetwood Mac vocalist declined the offer.
This was the most successful of all Blondie singles
in their native USA. It was the best-selling single of 1980.
In 2002, The Box Tops recorded this for the
compilation album When Pigs Fly: Songs You Never Thought You'd Hear. Cevin
Soling, who was executive producer on the album, explains: "I got the Box
Tops back together again, and that was a blast. That was so much fun working
with the Box Tops. Especially with Alex Chilton there singing. I didn't produce
that. I was in the studio, but the producer on that one was a buy named Benji King,
who was the keyboard player for the band Scandal. That studio experience was
pretty funny, because he's so full of energy. He's always excited and always
really into things. The Box Tops are each one degree more laid back to the
next. Coming from the South, they're all kind of very chill. Until you get to
Alex Chilton, who's practically catatonic. And so you have that contrast."
(Check out our interview with Cevin Soling.)
In 2009, Franz Ferdinand covered this song for the
War Child Presents Heroes charity album.
This song was covered by the heavy metal band In
This Moment on their 2008 album, The Dream.
Giorgio Moroder told Billboard magazine that his
difficult experience of recording this song with Blondie taught him not to work
with rock bands. "There were always fights," he recalled. "I was
supposed to do an album with them after that. We went to the studio, and the
guitarist was fighting with the keyboard player. I called their manager and
quit."
‘Another one
bites the dust’ (by Queen)
This is one of the hardest Queen songs to
understand. The opening line reads, "Steve walks warily down the street,
his brim pulled way down low. Ain't no sound but the sound of his feet, machine
gun ready to go..." Also, the last phrase spoken in the song is not
"Shoot Her" or "Shooter," but "Shoot Out."
Though probably not intentional unless someone did
an excellent splicing job, the "Another one bites the dust" line
quite clearly says "...Decide to smoke marijuana" when played
backwards. This is especially clear toward the end of the track when Mercury
repeats the line with only the drums playing.
Queen bass player John Deacon wrote this song. All
four members of Queen wrote songs, and each wrote at least one hit. Deacon also
wrote "You're My Best Friend."
Deacon was influenced by the Chic song Good Times.
In an interview with the New Musical Express, Chic bass player Bernard Edwards
said: "Well, that Queen record came about because that bass player spent
some time hanging out with us at our studio. But that's OK. What isn't OK is
that the press started saying that we had ripped them off! Can you believe
that? 'Good Times' came out more than a year before, but it was inconceivable
to these people that black musicians could possibly be innovative like that. It
was just these dumb disco guys ripping off this rock 'n' roll song."
Deacon played most of the instruments on the track:
lead and rhythm guitars, bass, reversed piano and additional percussion. Brian
May did some guitar effects with harmoniser (in the interlude), and Roger
Taylor played the drum loop. Surprisingly, there are no synthesizers.
While the band and producer Reinhold Mack were
mixing the track, Brian May's roadie suggested it to be released as single; the
band didn't like the idea but were finally talked into doing it when Michael
Jackson, after a concert, suggested the same idea.
John Deacon claimed in a 1980 interview that Roger
Taylor opposed the song's drum beat. This is backed up by the comments of
several figures in the Days of our Lives documentary, who noted that Taylor
hated having tape put on his drums to deaden the sound.
However, the drummer denied this in an interview
with Mojo magazine October 2008. He insisted: "I'd already had an
ineffectual pop at that kind of music with 'Fun It,' on the Jazz album. I was
never against 'Another One Bites The Dust,' but I was against releasing it as a
single."
In 1998, this was used in a commercial for AIWA
sound systems. In the ad, a guy drives around with this blaring from his car
stereo. At the end of the commercial, we realize he is driving a hearse.
Freddie Mercury loved this track. Brian May recalled
to Mojo: "Freddie sung until his throat bled on Another One Bites The
Dust. He was so into it. He wanted to make that song something special."
During production of the movie Rocky III, this was
used in a key scene where Rocky is training for a fight. Producers could not
get permission to use the song, so Sylvester Stallone hired Survivor to write
an original song instead, which turned out to be "Eye Of The Tiger."
Queen were originally reluctant to release this as a
single, but backstage after a Queen gig at the Los Angeles forum, a visiting
Michael Jackson convinced them it would be a hit. "Michael and all his
brothers were all going, 'That's a fantastic track. You must release it,'"
recalled Queen drummer Roger Taylor to Q magazine December 2009.
This meeting lead to several recordings and
collaborations between Freddie Mercury and Jackson, all of which remain
unreleased.
Weird Al Yankovic got his first chart placing with
his parody of this song: "Another One Rides The Bus." It bubbled
under on the Hot 100, placing at #104 in 1981. After a few more minor hits, he
landed "Eat It" at #12 in 1984.
This was the single that really broke the band in
America, and it garnered a huge following amongst American Disco audiences,
with many fans and journalists convinced it was a black man singing lead vocals
(these people obviously hadn't heard of Queen before so didn't know what
Freddie looked like). The band occasionally were unsure of how to deal with
this - Roger Taylor jokes in the Days of our Lives documentary of having fans
shouting "you guys are bad!" in the street, and he had to ask
"does that mean good or what?"
This was used in a 2016 commercial for the Hyundai
Genesis that first aired on the Super Bowl. In the spot, Kevin Hart uses the
Car Finder app to track down the guy who is using it to take his daughter on a
date. After tormenting her suitor, Hart says, "A dad's gotta do what a
dad's gotta do."
‘(Just like)
starting over’ (by John Lennon)
This song embodied the sense of renewal in Lennon
and Yoko's professional and personal lives during the writing and recording of
Double Fantasy. "It was kinda obvious what 'Starting Over' was
about," said journalist David Sheff, who did the last major interview with
Lennon, to Mojo. "He'd been untrusting of Yoko, she'd been untrusting of
him, all that kind of stuff. But in that one song was this incredible optimism
and joy."
This was released in the United States October 27,
1980, which was the same day Mark David Chapman bought the gun he would use to
kill Lennon on December 8. "Starting Over," which came out in the UK
on October 24, was Lennon's first release since 1975. The Double Fantasy album
was issued on November 17.
Lennon wrote this while vacationing in Bermuda
earlier in the year.
Despite being the first single in five years from
one of the most famous musicians on the planet, this song took a while to catch
on. In America, it entered the Hot 100 on November 1, 1980 at #38 and made a
slow but steady climb up the chart. Here's the progression:
Nov. 8: #32
Nov. 15: #10
Nov. 22: #9
Nov. 29: #8
Dec. 6: #6
Dec. 13: #4
Dec. 20: #3
Dec. 27: #1
When Lennon was killed, fans quickly scooped up the
single along with lots of other Lennon material, but it took a few weeks for
the chart to reflect these sales. When it hit #1, it stayed there for five
weeks.
This was recorded at The Power Station in New York
City. Musicians included Tony Levin on bass, Earl Slick on guitar, and Andy
Newmark on drums.
Double Fantasy was released on David Geffen's record
label, DGC. Many labels were competing for the album, but Geffen impressed
Lennon when he wrote directly to Yoko and agreed to release it without hearing
it first. All of Lennon's previous albums were released on The Beatles' label,
Apple.
John and Yoko were considering doing a tour when
this was climbing the charts.
This was one of the last songs recorded for the
album. Lennon was not sure he should record it, but his producer and session
musicians convinced him it would be a hit. It became the first single from
Double Fantasy.
The day this was released, Yoko Ono hired a
skywriter to write "Happy Birthday" above New York.
Lennon said in his last Rolling Stone interview in
1980: "All through the taping of 'Starting Over,' I was calling what I was
doing 'Elvis Orbison.' It's like Dylan doing Nashville Skyline, except I don't
have any Nashville, being from Liverpool. So I go back to the records I know -
Elvis and Roy Orbison and Gene Vincent and Jerry Lee Lewis."
The copy of Double Fantasy that Mark Chapman asked
Lennon to autograph might be the most valuable record in the world. The record,
which figured in the court case, not only has Lennon's autograph but also
boasts Chapman's fingerprints on the cover. In 2003, the record was sold for
£525,000 but its value has since rocketed.
‘Take me home’
(by Phil Collins)
Often misconstrued to be about a man returning home,
Collins stated on VH1 Storytellers that the song's lyrics refer to a patient in
a mental institution, and that he was inspired by the novel One Flew Over the
Cuckoo's Nest.
Sting and ex-Genesis band mate Peter Gabriel sang
backup vocals. Also featured is former Culture Club backing singer Helen Terry.
In 2003 the hip-hop group Bone Thugs-N-Harmony
heavily sampled the song for their single "Home." Their version
reached #19 in the UK (the same as the original version), and Collins appeared
in the video.
Collins explained in Rolling Stone: "Bone
Thugs-N-Harmony called me up and said, 'We've done a version of your song 'Take
Me Home' and we'd like you to be in the video.' I said, 'No, I'm not in
America.' They said, 'They can come wherever you are.' I said, 'Don't make me
say, 'No, f--k off.'' But then I heard the song, and I quite liked it, and they
agreed to come to Geneva. How could I disappoint these guys? They were nice
lads."
The video features Phil Collins singing a couple of
lines from the song in various cities around the world, including London,
Moscow, New York, Paris, Tokyo and Sydney.
This was originally released in the UK in 1985. It
released in the US in March 1986, only after Phil Collins appeared in the TV
series Miami Vice.
The music of Genesis featured in the 2000 film
American Psycho, which examines greed and insanity with the financial industry
as a backdrop. This song found its way into a key scene of the Season 2
premiere episode of the TV series Mr. Robot, which takes on these same issues.
The lead character in the episode suffers from blackouts, so the refrain,
"'Cause I don't remember," makes sense.
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