The Ecstatic Truth, Pt. 20
25 Bruce Springsteen - Thunder Road
W: Springsteen
P: Bruce Springsteen, Jon Landau, and Mike Appel
Early in Springsteen’s masterpiece “Thunder Road” he says with a hint of sadness “The only redemption I can offer grows beneath this dirty hood.” The magic of this song is that there IS some redemption in a beat up car, because there is also redemption in love and rock and roll. All of them represent freedom, and this is the ultimate song of breaking away and taking off for liberation. The reason it works so well is because the Boss finds beauty in the smallest of things; the way a breeze rustles a dress, the feeling of the wind in your air with the windows down, the exciting expanse of the American highway leading to new dreams and hope just a little bit further up the darkened lanes. Along the way we are treated to piano balladry, propulsive guitars, and exhausted vocals that sound like they have been trying to send this message for years. There is an amazing sense of youth that is only matched by the sense of timelessness the song evokes. You can’t place exactly when it was recorded because it sounds so universal. At any time in history this song will be the sound of tomorrow, so why not grab on to that guitar and ride it into your dreams.
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24 Fishbone - Mighty Long Way
W: Fisher
P: David Kahne
This isn’t a song; it’s a call to arms. In recent years I have adapted this as a bit of a theme song. Hanging out with friends? Listen to “Mighty Long Way.” In a great mood? Listen to “Mighty Long Way.” Need to be picked up? Listen to “Mighty Long Way.” Much like early Sly Stone songs, every member of Fishbone who can sing, does sing, and it only helps to build the feeling of camaraderie that is the point of the song. It is about people who stick up for each other and who love each other, and because of this it is one of the best songs ever written about how great it feels to have friends that you can lean on when you need to. Unlike most songs with similar subjects, though, this song actually rocks too. It is one of Fishbone’s most entertaining songs, and that says a lot in and of itself.
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23 The Beatles - She Loves You
W: Lennon/McCartney
P: George Martin
I have gotten into many heated arguments over the worth of this song. If you can’t feel the raw, pulsating energy coming out of your speakers as you listen to this, don’t ever speak to me again about what rock and roll means to you. How can you deny this song? It is a question that has perplexed me more times than I care to mention. Instead, I will mention some of the things I love about this song. First off, lets talk about Ringo’s drumming. Some people call it simplistic, and it is, but to say that is to deny the craft in his work. He always plays exactly what is called for, and this song is a great example. The songs tumble in, getting us started on this sprint of a song, and then they proceed to crash and slam their way through the song, cutting a line straight through the heart to your feet. It is his drumming that propels this song, though there is no denying the precise guitar work. The lyrics are told from an odd perspective, but it makes it seem as if the Beatles are singing right to you. This gives the song a great familiarity that incorporates the listener in the song, making the whole affair even more exciting. The song is sung entirely as a duet between Paul and John so that you cannot ignore them. Their voices work incredibly well together as they each complement the other, taking turns with melody and harmony to showcase the collaborative nature of this band at its best. This is one of the greatest Beatles songs because it captures everything great about their early years and gives it to the fans to make their own.
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22 OutKast - B.O.B.
W: Benjamin/Patton/Sheats
P: Earthtone III
This is the hardest hitting thing OutKast has ever recorded, and it is still catchy as hell. The drums move at an incredible speed, and, even more incredibly, not only do Andre and Big Boi keep up, they sound dope! The synthesizers and electric guitars add some very nice touches, but we all know that it is the choral singing at the end that really takes this record over the top to greatness.
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21 Dion - Runaround Sue
W: DiMucci/Maresca
P: Gene Schwartz
Dion was one of the great early teen icons because he always sang like he could stand up to his bad boy image. This was never more evident than on “Runaround Sue.” Personally, I think it is no coincidence that his performance is so great and he co-wrote this song. He sounds like he has actually had his heartbroken, but instead of being forlorn, as he does during the intro, he turns it around and makes it threatening. This is a challenge to any man who wants to try to pick up Sue; no matter what happened she is still Dion’s girl. Besides this kind of analysis, albeit silly, the fact remains that this is still just a great song to listen to. It’s got a fun beat and you genuinely get sucked into its tugs and punches. It incorporates doo wop backgrounds, but they sound fresh and new here. During the stellar bridge, the music sounds intense and emphatic. After saying “Now, people let me put you wise,” there is a brief pause and a ferocious quiver in Dion’s voice as he growls “Sue goes….. out with other guys.” It sounds dangerous and thrilling, and it is the very reason why I keep coming back to this song time and time again.
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20 The Crystals - He’s a Rebel
W: Pitney
P: Phil Spector
Many people point to “Be My Baby” as Spector’s master work, but it has always been “He’s A Rebel” to me. “Be My Baby” hits the listener over the head with sounds while “He’s A Rebel” takes a more simplistic approach. With only a few percussion instruments and a rainy day piano the song begins. It is unassuming but defiant; it challenges you to take it on. Once it knows it has you there is a key change that lasts for the rest of the song, and it is this slight step upward that takes the song to another stratosphere. From there on out it isn’t just exciting, it’s alive. A handful of other instruments are added in, but they only work to enhance the groundwork laid by the skeletal percussion. This song is made of gentle layering, and every time a new instrument is added it feels like the song is becoming more confident with the singer. The lyrics deal with a woman who is dating a “bad boy” who isn’t all that bad. She shuns common perceptions of her man and focuses on how well he treats her and how great he makes her feel. Because of this she is strong in her love, and the song echoes this sentiment with a powerful saxophone solo that sounds like her man coming to back her up. This strength of conviction builds until the end when it becomes a life-affirming foot stomper, complete with a chorus of claps. It almost seems cocky at the end, but even with this interpretation the song is still strong. Later, Spector would ask for more in his arrangements, but on this song he is using all of his powers in a clear line, completely focused on achieving one goal. He did it, and he did it well.
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19 George Clinton - Atomic Dog
W: Clinton/Morrison
P: George Clinton with W. Morrison
As legend goes, after laying down the basic tracks, Clinton went into the studio and did his lead vocals in a single, completely adlibbed take. Even more amazing: I know every single one of those adlibs and will gladly sing along with them, no matter how ridiculous I may look. I have heard this song in almost every setting imaginable, and in every place it makes me and those around me to dance. Simply put, George set out to make a great dance record and he succeeded immensely. If you haven’t heard the “Computer Games” album, do yourself a favor and go check it out. I will gladly lend it to you.
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18 Otis Redding - (Sittin’ On) The Dock of the Bay
W: Redding/Cropper
P: Cropper
Imagine how different the pop landscape would be had Otis Redding had a chance to see this song’s success. On its release it was something completely different than anything else and few have truly been able to recreate its feeling. It’s country but it’s also funky. It is neither wholly black or white, but is instead beautiful balance of the two. Everything moves with an easy shuffle and the horns wash over you like the tide of loneliness the lyrics describe. Listen to the quake in Otis’ voice as he sings, “Left my home in Georgia,” and you will hear a man on the verge of tears without falling into self-pity. The bridge sounds uplifting until you realize that the lyrics are essentially talking about becoming apathetic. Still, you don’t feel as if Otis has given up hope. Instead, it sounds like he has accepted his fate even though he may regret some of his decisions. I think this song has remained so popular for so many years because people can identify with its words of remorse and cleansing. For me it represents the tragic end of a dazzling career, and, more importantly, the sound of an artist with clear thought and focus at the height of his powers.
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17 De La Soul featuring the Native Tongues Posse - Buddy (Native Tongues Decision)
W: Huston/Mercer/Jolicoeur/Mason/Davis/Small/Hall/Wilson
P: Prince Paul and De La Soul
The Native Tongues are my favorite rap posse of all time, and this is the entire group at their best. For those that don’t know, at this time the Native Tongues included Queen Latifah, Jungle Brothers, A Tribe Called Quest, Monie Love, and, of course, De La Soul. Other artists would join later (see: “Scenario”), but they never recreated this song’s peaks. Every verse is done in group vocals, utilizing deft mic passing, tandem singing, and group fills to make this a song of collective ecstasy. This song feels like a party, and its great sense of humor and playfulness make it infinitely fun. Prince Paul’s beat is relatively simplistic, but it is still crazy funky, and it has enough tiny changes to please beat makers anywhere. As if the verses weren’t enough, the extended outro houses numerous comical vocal samples from all kinds of different records and they give the song an extra little umph. It also happens to be my favorite rap song of all time.
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16 Thelma Houston - Don’t Leave Me This Way
W: Gamble/Huff/Gilbert
P: Hal Davis
“Ahhhhhhh…. BABY! MY HEART IS FULL OF LOVE AND DESIRE FOR YOU!” Yes, yes, yes! Wow, this song gets me every single time. If you want me to dance, put this song on. I guarantee it will. Whenever I hear it I am filled with passion and I doubt if anyone can deny the aggression in Thelma’s voice as she powers her way through this exciting blast of a song. This song only proves my theory that good dance music should be a cathartic vehicle to work out either your greatest feelings of joy or, as in this case, your greatest feelings of sorrow. Simply put, this is the greatest dance song ever.
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15 Tom Petty & The Heartbreakers - American Girl
W: Petty
P: Denny Cordell
“American Girl” is a song bubbling with so much energy and zeal, it almost seems to burst out of the speakers. From the opening toe-tapping drum line until Mike Campbell’s closing guitar solo, the Heartbreakers play like there is no tomorrow. What is so strange and fascinating about this song is that on first listen it sounds like an All-American fist-pumper, but, like Springsteen’s “Born In The U.S.A.,” this song is much more than meets the eye. Based around the story of a Gainesville girl who committed suicide, the lyrics are descriptive without telling everything. The chorus which seems to say nothing is actually a clear description of the emotional mind state of this troubled woman. It is gallows humor to the end; this woman has killed herself and all the singer can say is “Oh yeah, all right, take it easy baby.” The guitar, which sounds almost like Buzzcocks-meet-U2, soars throughout, especially during the aforementioned solo. The climbing notes sound like someone running up a flight a stairs, and the high-pitched, long-lasting scream in the background creates a dreadful atmosphere. Still, the song remains uptempo so that it doesn’t drag us down with it. The overall result is quite complex, and it makes the song that much more memorable and appealing.
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14 Prince - When Doves Cry
W: Prince
P: Prince
Commissioned, written, and recorded in 24 hours, this song is Prince at his best. People make a lot of the fact that there is no bass on this song, but that is a relatively arbitrary fact to focus in on. Much more important is the extraordinary groove and the fire in Prince’s vocals. This song takes everything in “Purple Rain” and condenses it to an all-too-short 6 minute pop song. Everything in the song is in conflict, be it Prince’s dueling vocals, the separation between mother and father, or the two different synthesizer lines, one melodic and one atmospheric. Even if you think you don’t like Prince, you will probably love this song. That is the power of a good pop tune, and Prince proved that he was a master of the form on this song. This song has been imitated so often, it could easily be said to be one of the most important songs of the last 25 years, and while that isn’t enough to make me love it, it certainly doesn’t hurt.
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13 The Jackson 5 - I Want You Back
W: Perren/Mizell/Gordy/Richards
P: Freddie Perren, Alphonso Mizell, Berry Gordy, and Deke Richards
Oh, wow. I wish I could fully express how much I love this song. 30 years later and it still sounds exciting and fresh. It still livens up parties, it still is great to dance to, and it is still a flawless record. It quickens the heart and peps the step. This song is undeniable. Jackie, Jermaine, Tito, Marlon, and Michael are all at their best, as is the songwriting, producing, and playing. This song makes everything seem so simple, whether it be the subtle use of congas or the aching pull of the strings. This song takes the sound of early Sly Stone and makes it faster and poppier without sacrificing the basic funkiness of those records. This is a song that is alive in a way few other songs are and it never ceases to amaze me.
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12 Prince - Little Red Corvette (12” Mix)
W: Prince
P: Prince
My all-time favorite Prince song. It is slinky and seductive, suggestive and smooth, sweet and sharp. The 12” version has always been the best to me because it draws out all of the sexiness of the groove and puts it at the forefront. It begins with processed drums that sound like sandpaper before introducing soft synthesizer chords and light bass touches as Prince comes in with a hesitantly reflective whisper that builds to the massive chorus. Each verse becomes a bit more intense and Prince colors the scene with his dark guitar. When it transitions to the breakdown, the sound of the guitar changes. It is still played with raw emotion, but it is now higher and funkier. There are tiny changes in the breakdown that alter the sound slightly, bit by bit. When Prince reenters with a double-tracked vocal on the bridge, it’s game over. The tension has mounted and Prince is ready to release. He transforms himself into an oversexed demon, kicking up dust with clipped lines and a high-pitched wail. Not only is this a song you can dance to, it is also one that you want to sit down and absorb. It combines all of the best elements of Prince’s music and shapes them into one cohesive piece that is constantly adventurous while still being a great slice of pop music. The man’s a genius.
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11 Smokey Robinson & The Miracles - You’ve Really Got a Hold on Me
W: Robinson
P: Smokey Robinson
If you haven’t noticed yet, I love Smokey Robinson. This song is what turned me from merely an appreciator to a full-fledged devotee. This song is proof that the people who make the best music are the people who can slim their music down to the bare essentials. This isn’t a simplistic song, one listen to the magnificent harmonies will prove that, but it is economic and tight. The lyrics are some of the truest ever penned: who has never at least once in their life agreed with the opening line, “I don’t like you, but I love you.” Or if not that, “I don’t want you, but I need you.” It is about the magnetic pull between two people at even the worst of times, and Smokey’s simple melody is every bit as entrancing as the lyrical subject. As I mentioned before, this melody is made all the better by the sharp harmonies of The Miracles, masterfully arranged by Smokey. As the song moves, different people back Smokey up, giving each line its own unique texture. No verse sounds exactly alike because of this, and it makes the song that much greater. The great irony of the title is pointed out in the heart-wrenching bridge; this woman has a strong hold on Smokey, but all he asks her to do is to “hold me, hold me, ho-old me… hold me.”
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10 Bob Marley & The Wailers - No Woman, No Cry (Live)
W: Ford
P: Steve Smith and Chris Blackwell
First, I would like to clear something up. The title is NOT some kind of proverb or advice, it is an instruction. This is a song of comfort; he is saying “hey woman, do not cry.” The original version of this song from “Natty Dread” is too light because of Chris Blackwell’s watered-down production, but this version is perfect. You can feel your soul being healed as the entire crowd sings “Everything’s gonna be all right.” Despite all of the pain in the lyrics, this song makes me feel warm inside. It takes all of the problems in life, all of the sorrow, hurt, and desperation, and washes them away. When I listen to this song I can take everything that is bothering me and make it disappear. Marley was a master of this kind of song, and it is the reason he should be as revered as he is. If every live performance were as magical as this one the world might be a better place, or at least it could be the one Marley envisioned.
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9 The Beatles - Hey Jude
W: Lennon/McCartney
P: George Martin
This was the first Beatles song I ever learned all the words of. I can remember being a kid, sitting around my room listening to this on repeat, singing along with as much heart as I could muster. As I grew older I started to snub the song; for some reason I didn’t want to like it as much as I do. It’s simply too good. Eventually I caved, and now I am back to an immense love of this song. Besides the fact that the lyrics and melody are both wonderful, this song just has a great sound to it. It’s in the charging acoustic guitars and emphatic piano banging, the sound of Lennon backing McCartney, the wall of handclaps, the joy in the adlibs, and the energy of the orchestra during the extended coda. It is the apex of the most accomplished band in music history, and that is no small feat. I am glad it’s back in my life.
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8 The Beach Boys - God Only Knows
W: Wilson/Asher
P: Brian Wilson
Paul McCartney has called this the greatest song ever written, and it isn’t very hard to see why. The lyrics are deep, romantic, dark, spiritual, depressing, and yet joyful. The music sighs as Carl Wilson turns in a vocal performance as sweet and gentle as the soft smell of spring. Nothing sounds harsh or out of place, but this doesn’t mean the song sounds commonplace. It is actually an extraordinary record that shows why Wilson is considered such a pop genius. There is layer upon layer of sound, but nothing is overbearing or dominating. The sounds work together and each one increases the overall effect. The end is a series of circles, with each vocal line weaving its way in and out of the song. The Beach Boys sound like a choir of fallen angels; their wings have been clipped by their earthly desires, but they use these very desires to help them to fly again.
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7 Van Morrison - Brown Eyed Girl
W: Morrison
P: Bert Berns
As I am sure you have seen, I have a healthy appreciation for Van Morrison. Everything begins and ends here. So many people know and love this song it is almost unfair. This is one of the songs I can’t even argue with somebody about, because if you don’t like this song, we will never see eye to eye. What’s not to love? It’s a straight up pop song, but everything is played with a jazz-like fluidity that you don’t find anywhere else. Van’s vocals are completely different than any other pop vocals before or since. He sounds overwhelmed with joy and sadness as he reminisces on his days with an ex-lover and he allows these emotions to take him where they will. He has opened himself up to the soul of the song and the result is transcendent. My favorite part: Van screaming “Bit by bit by bit by bit” during the coda.
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6 The Temptations - Ain’t Too Proud to Beg
W: Holland/Whitfield
P: Norman Whitfield
In my rarely humble opinion, this has got to be one of the greatest pop songs ever recorded. Ever. The structure is very straightforward, so it is all of the tiny things that make this song better than the rest. First, there is David Ruffin. He was obviously an incredible talent, and this may be the best performance he ever gave. His voice sounds torn, either by way of singing too much or by being too invested in the song. I would like to think it is the latter, but it doesn’t matter because he is flawless either way. Other singers might have approached this song gingerly, but not David. He attacks the song, tearing it apart along with his vocal chords. In every line he finds the most important word or phrase and emphasizes it with stretches and leaps to increase the drama in every second. The most obvious (and best) example of this comes during the chorus. In the line “Ain’t too proud to plead” he growls the first part and then makes the line even more harsh sounding by jumping up in his register to squeak out “ple-ead.” It is these little touches of color that are found all over the song that make it such an enthralling listen. We get sucked in by the introductory drum roll and then are invited to join in with hand claps that stomp out the beat instead of placating it. Norman Whitfield produced this song as if it were a romp instead of a tear stained letter, as is shown in the horn blasts that lead into every chorus. The sound is vicious because it HAS to be. If the song were soft it wouldn’t work as well. This is a song to get involved with, to sing at the top of your lungs, and to sink into. It is pop music at its absolute best.
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5 The Young Rascals - Good Lovin’
W: Clark/Resnick
P: Dowd/Mardin
This is the first song I can ever remember being in love with. I can remember being 4 years old and hearing this song blaring from the tin can speakers of the beat-up Volkswagen Beatle my family briefly owned and wanting to hear it again and again. It was on some random tape my dad had made and we wore it out with this song alone. I would sing all of the backup vocals (as I still do) and dance away in my seat. This song may very well be the reason I love music as much as I do now, and at the very least it has colored how I look at every song since.
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4 Marvin Gaye - Let’s Get It On
W: Gaye/Townsend
P: Marvin Gaye & Ed Townsend
Forget everything you have ever thought about this song and its subject. What makes this song so fantastic, so out-of-the-park amazing, is Marvin Gaye’s vocal performance. It is not only HIS greatest performance, it may also be the greatest vocal performance ever. His use of multi-tracked vocals is immaculate; every note of the melody and harmony is perfectly placed to enhance the tension and mood. Even if you don’t speak English you could still understand this song because Marvin so wonderfully captures the sound of sexuality in his every breath. The backing track is also great; the strings swell quietly in the background, while the drums jump and accelerate like a heart pounding with excitement. At this point, some may claim that the song is overplayed, that it is now cheesy or dated. I beg these people to open their ears and ignore the numerous movies, commercials, shows, whatever, in which you have heard this song and focus in on the depth of emotion in Marvin’s soft wail. Let it take you and carry you away with it; let it sweep you up. Let it grab you and carry you with it as it shakes and stirs your soul. This is a song you shouldn’t simply listen to. You should experience it.
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3 Marvin Gaye and Tammi Terrell - Ain’t No Mountain High Enough
W: Ashford/Simpson
P: Harvey Fuqua and Johnny Bristol
This is the ultimate song of devotion and the ultimate duet. If either Marvin Gaye or Tammi Terrell were asked to sing this song alone it wouldn’t be half as powerful as it is when you have the two of them. Their vocals create a perfect balance with each one filling in holes left by the other. They seem to finish each other’s thoughts with their singing; if one goes up, the other chases the first. They don’t sound like they are trying to outdo each other, they struggle together and work to make each other better. This song is the best example of why many consider Marvin and Tammi to be the best vocal duo in pop history. Even beyond their performances the song is amazing. The songwriting is complex, intriguing, and different from just about anything else. Each verse seems to have its own melody and come off like a series of bridges instead of standalone parts. Everything flows perfectly, as if each new verse creates a need for another verse to come afterwards. It is intense with passion, and the rawness that bleeds through Marvin and Tammi’s vocals permeates the song and makes it one of the greatest listening experiences pop has to offer.
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2 The Isley Brothers - Shout (Parts 1 & 2)
W: R. Isley/O. Isley/R. Isley
P: Hugo Peretti & Luigi Creatore
“Shout” takes everything I love about pop music and throws it together in four and a half ecstatic minutes of revelry and rejoicing. It is the ultimate party song in sound and lyric. You don’t have to be a singer to shout and you don’t have to be a dancer for this song to make you move. It is essentially a series of extended bridges, but each one feels like its own separate part of a clearly defined whole. These changes give the song a striking immediacy and the listener is instantly engaged. Even during its slower moments the song doesn’t let up. These lulls create greater anticipation for what is to come, and the tension constantly mounts until all that can be left is a cavalcade of shouts raining down upon the listener. There can be no “A little bit louder now” if there is no “A little bit softer now.” The multiple hoots and hollers in the background give the song a live quality that is also enhanced by moments of cheering and clapping. This song works because it doesn’t sound like it was made by a band; it sounds like it was created by a crowd. A roaring, enthusiastic, joyful crowd.
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1 Jackie Wilson - Higher and Higher
W: Jackson/Miner/Smith
P: Carl Davis
To put it simply, this song is “it.” It encapsulates everything I love about music and trims away all the fat. It is tightly wound and lean, every second builds upon the one that came before it. This is a pop tone poem raging full force ahead at every turn. It combines all of the joy of “Good Lovin’” and “Shout” and synthesizes them to become a completely new beast. They say that soul music is gospel music gone secular, and one listen to “Higher and Higher” proves this to be true. It isn’t enough that this song talks about a higher plane; it takes you there. The verses begin simply enough with a rolling bass figure and quick, rhythmic guitar strumming that is calm but forceful. The drums are secondary to the tambourines which fill the background with a clanging shuffle to provide room for the listener to find the groove and move. The lyrics work as a testimonial; the first verse is only a primer for the chorus, the second verse speaks of the singer’s days of being figuratively blind without love, and in the third and final verse the singer takes strength in his love and makes a stand before letting the chorus take him over. And oh what a chorus it is. It is repeated three times throughout the song, but each one is different from the one that came before it. Ostensibly these choruses are all the same, but any halfway decent listener can spot the differences. For one thing, Jackie sings each chorus differently. He finds new things to emphasize in each one and releases himself to the movement of the muse that has stolen his heart. Sometimes he sings rhythmically, sometimes smoothly, and sometimes he sings with all the religious fervor of a preacher standing on a soap box atop a lake of fire. The background vocals literally go higher and higher, to a point where it is almost hard to believe anyone could actually get that high. As the song moves, so does the arrangement, which builds itself right before your eyes. It would be useless to try to describe the effect the strings and horns have on this song, but their mark is so indelible it is impossible to imagine the song without them. I struggled for a long time over this song’s placement, but every time I listened to it I felt reaffirmed in my decision. This is what perfection sounds like to me.
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Well, that's it. The demon has been exorcised. I hope any and all of you that have been reading this have enjoyed it. It took me a long time, and I am very satisfied with it. Coming tomorrow (probably) I am going to do a brief wrap up, but other than that, I AM DONE!
W: Springsteen
P: Bruce Springsteen, Jon Landau, and Mike Appel
Early in Springsteen’s masterpiece “Thunder Road” he says with a hint of sadness “The only redemption I can offer grows beneath this dirty hood.” The magic of this song is that there IS some redemption in a beat up car, because there is also redemption in love and rock and roll. All of them represent freedom, and this is the ultimate song of breaking away and taking off for liberation. The reason it works so well is because the Boss finds beauty in the smallest of things; the way a breeze rustles a dress, the feeling of the wind in your air with the windows down, the exciting expanse of the American highway leading to new dreams and hope just a little bit further up the darkened lanes. Along the way we are treated to piano balladry, propulsive guitars, and exhausted vocals that sound like they have been trying to send this message for years. There is an amazing sense of youth that is only matched by the sense of timelessness the song evokes. You can’t place exactly when it was recorded because it sounds so universal. At any time in history this song will be the sound of tomorrow, so why not grab on to that guitar and ride it into your dreams.
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24 Fishbone - Mighty Long Way
W: Fisher
P: David Kahne
This isn’t a song; it’s a call to arms. In recent years I have adapted this as a bit of a theme song. Hanging out with friends? Listen to “Mighty Long Way.” In a great mood? Listen to “Mighty Long Way.” Need to be picked up? Listen to “Mighty Long Way.” Much like early Sly Stone songs, every member of Fishbone who can sing, does sing, and it only helps to build the feeling of camaraderie that is the point of the song. It is about people who stick up for each other and who love each other, and because of this it is one of the best songs ever written about how great it feels to have friends that you can lean on when you need to. Unlike most songs with similar subjects, though, this song actually rocks too. It is one of Fishbone’s most entertaining songs, and that says a lot in and of itself.
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23 The Beatles - She Loves You
W: Lennon/McCartney
P: George Martin
I have gotten into many heated arguments over the worth of this song. If you can’t feel the raw, pulsating energy coming out of your speakers as you listen to this, don’t ever speak to me again about what rock and roll means to you. How can you deny this song? It is a question that has perplexed me more times than I care to mention. Instead, I will mention some of the things I love about this song. First off, lets talk about Ringo’s drumming. Some people call it simplistic, and it is, but to say that is to deny the craft in his work. He always plays exactly what is called for, and this song is a great example. The songs tumble in, getting us started on this sprint of a song, and then they proceed to crash and slam their way through the song, cutting a line straight through the heart to your feet. It is his drumming that propels this song, though there is no denying the precise guitar work. The lyrics are told from an odd perspective, but it makes it seem as if the Beatles are singing right to you. This gives the song a great familiarity that incorporates the listener in the song, making the whole affair even more exciting. The song is sung entirely as a duet between Paul and John so that you cannot ignore them. Their voices work incredibly well together as they each complement the other, taking turns with melody and harmony to showcase the collaborative nature of this band at its best. This is one of the greatest Beatles songs because it captures everything great about their early years and gives it to the fans to make their own.
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22 OutKast - B.O.B.
W: Benjamin/Patton/Sheats
P: Earthtone III
This is the hardest hitting thing OutKast has ever recorded, and it is still catchy as hell. The drums move at an incredible speed, and, even more incredibly, not only do Andre and Big Boi keep up, they sound dope! The synthesizers and electric guitars add some very nice touches, but we all know that it is the choral singing at the end that really takes this record over the top to greatness.
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21 Dion - Runaround Sue
W: DiMucci/Maresca
P: Gene Schwartz
Dion was one of the great early teen icons because he always sang like he could stand up to his bad boy image. This was never more evident than on “Runaround Sue.” Personally, I think it is no coincidence that his performance is so great and he co-wrote this song. He sounds like he has actually had his heartbroken, but instead of being forlorn, as he does during the intro, he turns it around and makes it threatening. This is a challenge to any man who wants to try to pick up Sue; no matter what happened she is still Dion’s girl. Besides this kind of analysis, albeit silly, the fact remains that this is still just a great song to listen to. It’s got a fun beat and you genuinely get sucked into its tugs and punches. It incorporates doo wop backgrounds, but they sound fresh and new here. During the stellar bridge, the music sounds intense and emphatic. After saying “Now, people let me put you wise,” there is a brief pause and a ferocious quiver in Dion’s voice as he growls “Sue goes….. out with other guys.” It sounds dangerous and thrilling, and it is the very reason why I keep coming back to this song time and time again.
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20 The Crystals - He’s a Rebel
W: Pitney
P: Phil Spector
Many people point to “Be My Baby” as Spector’s master work, but it has always been “He’s A Rebel” to me. “Be My Baby” hits the listener over the head with sounds while “He’s A Rebel” takes a more simplistic approach. With only a few percussion instruments and a rainy day piano the song begins. It is unassuming but defiant; it challenges you to take it on. Once it knows it has you there is a key change that lasts for the rest of the song, and it is this slight step upward that takes the song to another stratosphere. From there on out it isn’t just exciting, it’s alive. A handful of other instruments are added in, but they only work to enhance the groundwork laid by the skeletal percussion. This song is made of gentle layering, and every time a new instrument is added it feels like the song is becoming more confident with the singer. The lyrics deal with a woman who is dating a “bad boy” who isn’t all that bad. She shuns common perceptions of her man and focuses on how well he treats her and how great he makes her feel. Because of this she is strong in her love, and the song echoes this sentiment with a powerful saxophone solo that sounds like her man coming to back her up. This strength of conviction builds until the end when it becomes a life-affirming foot stomper, complete with a chorus of claps. It almost seems cocky at the end, but even with this interpretation the song is still strong. Later, Spector would ask for more in his arrangements, but on this song he is using all of his powers in a clear line, completely focused on achieving one goal. He did it, and he did it well.
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19 George Clinton - Atomic Dog
W: Clinton/Morrison
P: George Clinton with W. Morrison
As legend goes, after laying down the basic tracks, Clinton went into the studio and did his lead vocals in a single, completely adlibbed take. Even more amazing: I know every single one of those adlibs and will gladly sing along with them, no matter how ridiculous I may look. I have heard this song in almost every setting imaginable, and in every place it makes me and those around me to dance. Simply put, George set out to make a great dance record and he succeeded immensely. If you haven’t heard the “Computer Games” album, do yourself a favor and go check it out. I will gladly lend it to you.
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18 Otis Redding - (Sittin’ On) The Dock of the Bay
W: Redding/Cropper
P: Cropper
Imagine how different the pop landscape would be had Otis Redding had a chance to see this song’s success. On its release it was something completely different than anything else and few have truly been able to recreate its feeling. It’s country but it’s also funky. It is neither wholly black or white, but is instead beautiful balance of the two. Everything moves with an easy shuffle and the horns wash over you like the tide of loneliness the lyrics describe. Listen to the quake in Otis’ voice as he sings, “Left my home in Georgia,” and you will hear a man on the verge of tears without falling into self-pity. The bridge sounds uplifting until you realize that the lyrics are essentially talking about becoming apathetic. Still, you don’t feel as if Otis has given up hope. Instead, it sounds like he has accepted his fate even though he may regret some of his decisions. I think this song has remained so popular for so many years because people can identify with its words of remorse and cleansing. For me it represents the tragic end of a dazzling career, and, more importantly, the sound of an artist with clear thought and focus at the height of his powers.
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17 De La Soul featuring the Native Tongues Posse - Buddy (Native Tongues Decision)
W: Huston/Mercer/Jolicoeur/Mason/Davis/Small/Hall/Wilson
P: Prince Paul and De La Soul
The Native Tongues are my favorite rap posse of all time, and this is the entire group at their best. For those that don’t know, at this time the Native Tongues included Queen Latifah, Jungle Brothers, A Tribe Called Quest, Monie Love, and, of course, De La Soul. Other artists would join later (see: “Scenario”), but they never recreated this song’s peaks. Every verse is done in group vocals, utilizing deft mic passing, tandem singing, and group fills to make this a song of collective ecstasy. This song feels like a party, and its great sense of humor and playfulness make it infinitely fun. Prince Paul’s beat is relatively simplistic, but it is still crazy funky, and it has enough tiny changes to please beat makers anywhere. As if the verses weren’t enough, the extended outro houses numerous comical vocal samples from all kinds of different records and they give the song an extra little umph. It also happens to be my favorite rap song of all time.
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16 Thelma Houston - Don’t Leave Me This Way
W: Gamble/Huff/Gilbert
P: Hal Davis
“Ahhhhhhh…. BABY! MY HEART IS FULL OF LOVE AND DESIRE FOR YOU!” Yes, yes, yes! Wow, this song gets me every single time. If you want me to dance, put this song on. I guarantee it will. Whenever I hear it I am filled with passion and I doubt if anyone can deny the aggression in Thelma’s voice as she powers her way through this exciting blast of a song. This song only proves my theory that good dance music should be a cathartic vehicle to work out either your greatest feelings of joy or, as in this case, your greatest feelings of sorrow. Simply put, this is the greatest dance song ever.
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15 Tom Petty & The Heartbreakers - American Girl
W: Petty
P: Denny Cordell
“American Girl” is a song bubbling with so much energy and zeal, it almost seems to burst out of the speakers. From the opening toe-tapping drum line until Mike Campbell’s closing guitar solo, the Heartbreakers play like there is no tomorrow. What is so strange and fascinating about this song is that on first listen it sounds like an All-American fist-pumper, but, like Springsteen’s “Born In The U.S.A.,” this song is much more than meets the eye. Based around the story of a Gainesville girl who committed suicide, the lyrics are descriptive without telling everything. The chorus which seems to say nothing is actually a clear description of the emotional mind state of this troubled woman. It is gallows humor to the end; this woman has killed herself and all the singer can say is “Oh yeah, all right, take it easy baby.” The guitar, which sounds almost like Buzzcocks-meet-U2, soars throughout, especially during the aforementioned solo. The climbing notes sound like someone running up a flight a stairs, and the high-pitched, long-lasting scream in the background creates a dreadful atmosphere. Still, the song remains uptempo so that it doesn’t drag us down with it. The overall result is quite complex, and it makes the song that much more memorable and appealing.
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14 Prince - When Doves Cry
W: Prince
P: Prince
Commissioned, written, and recorded in 24 hours, this song is Prince at his best. People make a lot of the fact that there is no bass on this song, but that is a relatively arbitrary fact to focus in on. Much more important is the extraordinary groove and the fire in Prince’s vocals. This song takes everything in “Purple Rain” and condenses it to an all-too-short 6 minute pop song. Everything in the song is in conflict, be it Prince’s dueling vocals, the separation between mother and father, or the two different synthesizer lines, one melodic and one atmospheric. Even if you think you don’t like Prince, you will probably love this song. That is the power of a good pop tune, and Prince proved that he was a master of the form on this song. This song has been imitated so often, it could easily be said to be one of the most important songs of the last 25 years, and while that isn’t enough to make me love it, it certainly doesn’t hurt.
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13 The Jackson 5 - I Want You Back
W: Perren/Mizell/Gordy/Richards
P: Freddie Perren, Alphonso Mizell, Berry Gordy, and Deke Richards
Oh, wow. I wish I could fully express how much I love this song. 30 years later and it still sounds exciting and fresh. It still livens up parties, it still is great to dance to, and it is still a flawless record. It quickens the heart and peps the step. This song is undeniable. Jackie, Jermaine, Tito, Marlon, and Michael are all at their best, as is the songwriting, producing, and playing. This song makes everything seem so simple, whether it be the subtle use of congas or the aching pull of the strings. This song takes the sound of early Sly Stone and makes it faster and poppier without sacrificing the basic funkiness of those records. This is a song that is alive in a way few other songs are and it never ceases to amaze me.
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12 Prince - Little Red Corvette (12” Mix)
W: Prince
P: Prince
My all-time favorite Prince song. It is slinky and seductive, suggestive and smooth, sweet and sharp. The 12” version has always been the best to me because it draws out all of the sexiness of the groove and puts it at the forefront. It begins with processed drums that sound like sandpaper before introducing soft synthesizer chords and light bass touches as Prince comes in with a hesitantly reflective whisper that builds to the massive chorus. Each verse becomes a bit more intense and Prince colors the scene with his dark guitar. When it transitions to the breakdown, the sound of the guitar changes. It is still played with raw emotion, but it is now higher and funkier. There are tiny changes in the breakdown that alter the sound slightly, bit by bit. When Prince reenters with a double-tracked vocal on the bridge, it’s game over. The tension has mounted and Prince is ready to release. He transforms himself into an oversexed demon, kicking up dust with clipped lines and a high-pitched wail. Not only is this a song you can dance to, it is also one that you want to sit down and absorb. It combines all of the best elements of Prince’s music and shapes them into one cohesive piece that is constantly adventurous while still being a great slice of pop music. The man’s a genius.
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11 Smokey Robinson & The Miracles - You’ve Really Got a Hold on Me
W: Robinson
P: Smokey Robinson
If you haven’t noticed yet, I love Smokey Robinson. This song is what turned me from merely an appreciator to a full-fledged devotee. This song is proof that the people who make the best music are the people who can slim their music down to the bare essentials. This isn’t a simplistic song, one listen to the magnificent harmonies will prove that, but it is economic and tight. The lyrics are some of the truest ever penned: who has never at least once in their life agreed with the opening line, “I don’t like you, but I love you.” Or if not that, “I don’t want you, but I need you.” It is about the magnetic pull between two people at even the worst of times, and Smokey’s simple melody is every bit as entrancing as the lyrical subject. As I mentioned before, this melody is made all the better by the sharp harmonies of The Miracles, masterfully arranged by Smokey. As the song moves, different people back Smokey up, giving each line its own unique texture. No verse sounds exactly alike because of this, and it makes the song that much greater. The great irony of the title is pointed out in the heart-wrenching bridge; this woman has a strong hold on Smokey, but all he asks her to do is to “hold me, hold me, ho-old me… hold me.”
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10 Bob Marley & The Wailers - No Woman, No Cry (Live)
W: Ford
P: Steve Smith and Chris Blackwell
First, I would like to clear something up. The title is NOT some kind of proverb or advice, it is an instruction. This is a song of comfort; he is saying “hey woman, do not cry.” The original version of this song from “Natty Dread” is too light because of Chris Blackwell’s watered-down production, but this version is perfect. You can feel your soul being healed as the entire crowd sings “Everything’s gonna be all right.” Despite all of the pain in the lyrics, this song makes me feel warm inside. It takes all of the problems in life, all of the sorrow, hurt, and desperation, and washes them away. When I listen to this song I can take everything that is bothering me and make it disappear. Marley was a master of this kind of song, and it is the reason he should be as revered as he is. If every live performance were as magical as this one the world might be a better place, or at least it could be the one Marley envisioned.
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9 The Beatles - Hey Jude
W: Lennon/McCartney
P: George Martin
This was the first Beatles song I ever learned all the words of. I can remember being a kid, sitting around my room listening to this on repeat, singing along with as much heart as I could muster. As I grew older I started to snub the song; for some reason I didn’t want to like it as much as I do. It’s simply too good. Eventually I caved, and now I am back to an immense love of this song. Besides the fact that the lyrics and melody are both wonderful, this song just has a great sound to it. It’s in the charging acoustic guitars and emphatic piano banging, the sound of Lennon backing McCartney, the wall of handclaps, the joy in the adlibs, and the energy of the orchestra during the extended coda. It is the apex of the most accomplished band in music history, and that is no small feat. I am glad it’s back in my life.
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8 The Beach Boys - God Only Knows
W: Wilson/Asher
P: Brian Wilson
Paul McCartney has called this the greatest song ever written, and it isn’t very hard to see why. The lyrics are deep, romantic, dark, spiritual, depressing, and yet joyful. The music sighs as Carl Wilson turns in a vocal performance as sweet and gentle as the soft smell of spring. Nothing sounds harsh or out of place, but this doesn’t mean the song sounds commonplace. It is actually an extraordinary record that shows why Wilson is considered such a pop genius. There is layer upon layer of sound, but nothing is overbearing or dominating. The sounds work together and each one increases the overall effect. The end is a series of circles, with each vocal line weaving its way in and out of the song. The Beach Boys sound like a choir of fallen angels; their wings have been clipped by their earthly desires, but they use these very desires to help them to fly again.
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7 Van Morrison - Brown Eyed Girl
W: Morrison
P: Bert Berns
As I am sure you have seen, I have a healthy appreciation for Van Morrison. Everything begins and ends here. So many people know and love this song it is almost unfair. This is one of the songs I can’t even argue with somebody about, because if you don’t like this song, we will never see eye to eye. What’s not to love? It’s a straight up pop song, but everything is played with a jazz-like fluidity that you don’t find anywhere else. Van’s vocals are completely different than any other pop vocals before or since. He sounds overwhelmed with joy and sadness as he reminisces on his days with an ex-lover and he allows these emotions to take him where they will. He has opened himself up to the soul of the song and the result is transcendent. My favorite part: Van screaming “Bit by bit by bit by bit” during the coda.
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6 The Temptations - Ain’t Too Proud to Beg
W: Holland/Whitfield
P: Norman Whitfield
In my rarely humble opinion, this has got to be one of the greatest pop songs ever recorded. Ever. The structure is very straightforward, so it is all of the tiny things that make this song better than the rest. First, there is David Ruffin. He was obviously an incredible talent, and this may be the best performance he ever gave. His voice sounds torn, either by way of singing too much or by being too invested in the song. I would like to think it is the latter, but it doesn’t matter because he is flawless either way. Other singers might have approached this song gingerly, but not David. He attacks the song, tearing it apart along with his vocal chords. In every line he finds the most important word or phrase and emphasizes it with stretches and leaps to increase the drama in every second. The most obvious (and best) example of this comes during the chorus. In the line “Ain’t too proud to plead” he growls the first part and then makes the line even more harsh sounding by jumping up in his register to squeak out “ple-ead.” It is these little touches of color that are found all over the song that make it such an enthralling listen. We get sucked in by the introductory drum roll and then are invited to join in with hand claps that stomp out the beat instead of placating it. Norman Whitfield produced this song as if it were a romp instead of a tear stained letter, as is shown in the horn blasts that lead into every chorus. The sound is vicious because it HAS to be. If the song were soft it wouldn’t work as well. This is a song to get involved with, to sing at the top of your lungs, and to sink into. It is pop music at its absolute best.
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5 The Young Rascals - Good Lovin’
W: Clark/Resnick
P: Dowd/Mardin
This is the first song I can ever remember being in love with. I can remember being 4 years old and hearing this song blaring from the tin can speakers of the beat-up Volkswagen Beatle my family briefly owned and wanting to hear it again and again. It was on some random tape my dad had made and we wore it out with this song alone. I would sing all of the backup vocals (as I still do) and dance away in my seat. This song may very well be the reason I love music as much as I do now, and at the very least it has colored how I look at every song since.
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4 Marvin Gaye - Let’s Get It On
W: Gaye/Townsend
P: Marvin Gaye & Ed Townsend
Forget everything you have ever thought about this song and its subject. What makes this song so fantastic, so out-of-the-park amazing, is Marvin Gaye’s vocal performance. It is not only HIS greatest performance, it may also be the greatest vocal performance ever. His use of multi-tracked vocals is immaculate; every note of the melody and harmony is perfectly placed to enhance the tension and mood. Even if you don’t speak English you could still understand this song because Marvin so wonderfully captures the sound of sexuality in his every breath. The backing track is also great; the strings swell quietly in the background, while the drums jump and accelerate like a heart pounding with excitement. At this point, some may claim that the song is overplayed, that it is now cheesy or dated. I beg these people to open their ears and ignore the numerous movies, commercials, shows, whatever, in which you have heard this song and focus in on the depth of emotion in Marvin’s soft wail. Let it take you and carry you away with it; let it sweep you up. Let it grab you and carry you with it as it shakes and stirs your soul. This is a song you shouldn’t simply listen to. You should experience it.
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3 Marvin Gaye and Tammi Terrell - Ain’t No Mountain High Enough
W: Ashford/Simpson
P: Harvey Fuqua and Johnny Bristol
This is the ultimate song of devotion and the ultimate duet. If either Marvin Gaye or Tammi Terrell were asked to sing this song alone it wouldn’t be half as powerful as it is when you have the two of them. Their vocals create a perfect balance with each one filling in holes left by the other. They seem to finish each other’s thoughts with their singing; if one goes up, the other chases the first. They don’t sound like they are trying to outdo each other, they struggle together and work to make each other better. This song is the best example of why many consider Marvin and Tammi to be the best vocal duo in pop history. Even beyond their performances the song is amazing. The songwriting is complex, intriguing, and different from just about anything else. Each verse seems to have its own melody and come off like a series of bridges instead of standalone parts. Everything flows perfectly, as if each new verse creates a need for another verse to come afterwards. It is intense with passion, and the rawness that bleeds through Marvin and Tammi’s vocals permeates the song and makes it one of the greatest listening experiences pop has to offer.
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2 The Isley Brothers - Shout (Parts 1 & 2)
W: R. Isley/O. Isley/R. Isley
P: Hugo Peretti & Luigi Creatore
“Shout” takes everything I love about pop music and throws it together in four and a half ecstatic minutes of revelry and rejoicing. It is the ultimate party song in sound and lyric. You don’t have to be a singer to shout and you don’t have to be a dancer for this song to make you move. It is essentially a series of extended bridges, but each one feels like its own separate part of a clearly defined whole. These changes give the song a striking immediacy and the listener is instantly engaged. Even during its slower moments the song doesn’t let up. These lulls create greater anticipation for what is to come, and the tension constantly mounts until all that can be left is a cavalcade of shouts raining down upon the listener. There can be no “A little bit louder now” if there is no “A little bit softer now.” The multiple hoots and hollers in the background give the song a live quality that is also enhanced by moments of cheering and clapping. This song works because it doesn’t sound like it was made by a band; it sounds like it was created by a crowd. A roaring, enthusiastic, joyful crowd.
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1 Jackie Wilson - Higher and Higher
W: Jackson/Miner/Smith
P: Carl Davis
To put it simply, this song is “it.” It encapsulates everything I love about music and trims away all the fat. It is tightly wound and lean, every second builds upon the one that came before it. This is a pop tone poem raging full force ahead at every turn. It combines all of the joy of “Good Lovin’” and “Shout” and synthesizes them to become a completely new beast. They say that soul music is gospel music gone secular, and one listen to “Higher and Higher” proves this to be true. It isn’t enough that this song talks about a higher plane; it takes you there. The verses begin simply enough with a rolling bass figure and quick, rhythmic guitar strumming that is calm but forceful. The drums are secondary to the tambourines which fill the background with a clanging shuffle to provide room for the listener to find the groove and move. The lyrics work as a testimonial; the first verse is only a primer for the chorus, the second verse speaks of the singer’s days of being figuratively blind without love, and in the third and final verse the singer takes strength in his love and makes a stand before letting the chorus take him over. And oh what a chorus it is. It is repeated three times throughout the song, but each one is different from the one that came before it. Ostensibly these choruses are all the same, but any halfway decent listener can spot the differences. For one thing, Jackie sings each chorus differently. He finds new things to emphasize in each one and releases himself to the movement of the muse that has stolen his heart. Sometimes he sings rhythmically, sometimes smoothly, and sometimes he sings with all the religious fervor of a preacher standing on a soap box atop a lake of fire. The background vocals literally go higher and higher, to a point where it is almost hard to believe anyone could actually get that high. As the song moves, so does the arrangement, which builds itself right before your eyes. It would be useless to try to describe the effect the strings and horns have on this song, but their mark is so indelible it is impossible to imagine the song without them. I struggled for a long time over this song’s placement, but every time I listened to it I felt reaffirmed in my decision. This is what perfection sounds like to me.
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Well, that's it. The demon has been exorcised. I hope any and all of you that have been reading this have enjoyed it. It took me a long time, and I am very satisfied with it. Coming tomorrow (probably) I am going to do a brief wrap up, but other than that, I AM DONE!