Lyrical: “7” or “Seven” (Part One)

“You Never Give Me Your Money” is a song by The Beatles, written primarily by Paul McCartney (though credited to Lennon–McCartney), and first released on their 1969 album Abbey Road. It serves as the opening track of the album’s climactic medley on side two, transitioning from a melancholic piano ballad into shifting

musical sections including rock and dreamy tape loops. McCartney wrote it as a reflection of The Beatles’ business tensions following the formation of Apple Corps and the band’s disillusionment with manager Allen Klein. The song’s fragmented structure mirrors the band’s fractured state at the time. Though never released as a standalone single, it has been widely praised as one of McCartney’s finest compositions and a pivotal part of Abbey Road’s celebrated finale.

The Beatles never performed it live, but McCartney has included it in concert medleys. Notable versions appear on Love (2006) and in deluxe reissues of Abbey Road. It has been covered by various artists, and critics frequently rank it among the album’s highlights for its melodic inventiveness and emotional weight.

“John the Revelator” by Depeche Mode is a modern electronic reinterpretation of the traditional American gospel blues song of the same name, released in 2006 as a double A-side single with “Lilian” from their 2005 album Playing the Angel. Written by Martin L. Gore, the Depeche Mode version transforms the original spiritual into a dark,

politically and religiously charged critique, targeting hypocrisy within organized religion and the distortion of scripture for power. David Gahan delivers the lyrics with urgency and edge, while producer Ben Hillier shapes a gritty, industrial soundscape. The song was remixed by artists like UNKLE and Dave Isahan, with the single reaching the UK Top 20

and topping the U.S. Dance Club Songs chart. While not as universally acclaimed as Depeche Mode’s classic hits, “John the Revelator” was praised for its bold tone and relevance in a post-9/11 political climate. It became a powerful staple in their live sets during the Touring the Angel tour.

“Seven Wonders” is a song by Fleetwood Mac, released in 1987 as the second single from their Tango in the Night album. The song was written by Sandy Stewart, with additional lyrics by Stevie Nicks, who also provided the lead vocals. Stewart originally wrote and demoed the song for Nicks, who made a slight lyrical change—

adding the line “all the way to Seven Wonders”—which earned her co-writing credit. Lyrically, it reflects on love lost and the lingering power of memory, with the “seven wonders” symbolizing both worldly marvels and deeply personal moments. Musically, it features shimmering synth textures and layered harmonies characteristic of the band’s late-’80s pop sound.

The song reached No. 19 on the Billboard Hot 100 and became one of Nicks’ most recognized performances with the band. A live version appears on Fleetwood Mac: The Dance (1997), and the song saw renewed popularity after being featured in American Horror Story: Coven (2014), helping reintroduce it to a younger audience. While not ranked among Fleetwood Mac’s most iconic hits, it remains a fan favorite and a staple of their post-Rumours era.

“Seven Seas of Rhye” is a song by Queen, written by Freddie Mercury, and first appeared as an instrumental on their 1973 debut album Queen, later reworked with lyrics and released as their breakthrough single from the 1974 album Queen II. The full version marked Queen’s first major hit, reaching No. 10 on the UK Singles Chart and securing their first appearance on Top of the Pops.

The song showcases Mercury’s imaginative songwriting, with “Rhye” being a fantasy world he created as a child—referenced in other Queen tracks—symbolizing escape, power, and theatrical ambition. Musically, it blends baroque pop elements with hard rock and features Mercury’s virtuosic piano introduction, Brian May’s layered guitar work,

and a grand choral outro that concludes with a campy snippet of “I Do Like to Be Beside the Seaside.” While not as globally recognized as later Queen anthems, “Seven Seas of Rhye” is often ranked as a cult favorite and an essential early milestone in the band’s development, revealing the theatrical and conceptual scope that would define their style.

“7” is a song by Prince and the New Power Generation, released in 1992 as the third single from the album [Love Symbol Album]. Written and produced entirely by Prince (credited as “Prince and the New Power Generation”), the track blends pop, funk, Middle Eastern instrumentation, and layered vocal harmonies into a mystical, apocalyptic anthem.

Lyrically, “7” features cryptic references to the seven deadly sins or possibly seven enemies of enlightenment, reflecting Prince’s interest in spirituality, numerology, and religious transformation. Its lyrics also carry messianic overtones, as Prince proclaims he will “destroy” these figures to bring about a utopian rebirth.

The song was accompanied by a memorable video with heavy symbolism and appearances by dancer and bandmate Mayte Garcia. It ironically peaked at No. 7 on the Billboard Hot 100 and became a staple of Prince’s 1990s repertoire, praised for its originality and lush, genre-crossing arrangement. Several remixes and versions exist, including an edited single version and extended remixes on maxi-singles, contributing to its cult popularity among Prince fans. Though not his biggest commercial hit, “7” is often cited as one of his most ambitious and spiritually resonant works.

“Sweet Dreams (Are Made of This)” is a synth-pop classic by British duo Eurythmics, written and produced by Annie Lennox and David A. Stewart, and released in 1983 as the title track and fourth single from their second album. Created in a makeshift home studio after the duo’s personal and professional breakup, the song’s driving synth bassline and icy,

minimalist production helped define the sound of early 1980s new wave. Lyrically, it explores themes of ambition, disillusionment, and the search for fulfillment, with the repeated line “some of them want to use you” offering a cynical take on human desire and manipulation. Despite initial rejections by record executives, the song became Eurythmics’ breakthrough,

topping the Billboard Hot 100 and reaching No. 2 in the UK. Its iconic music video, featuring Lennox with androgynous styling and a stark boardroom setting, became a landmark of the MTV era. The track has been remixed, covered, and sampled widely, notably by Marilyn Manson in 1995 and in countless commercials and films. Often ranked among the greatest songs of the 1980s, it remains Eurythmics’ signature hit and a cultural touchstone.