Part of the Brill Building songwriting community in New York City, which housed some of the era’s greatest songwriters.
As a songwriting duo, Goffin and King defined the early 1960s pop music scene. They were part of the Brill Building songwriting community in New York City, which housed some of the era’s greatest songwriters and producers. The Brill Building was essentially a hit-making factory, and Goffin and King quickly became key players, known for their uncanny ability to craft catchy, emotional, and often timeless hits.
These are songs that contain the word, or number, 7 in their lyrics.
“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
These songs all have cool, strange, and or notable last lines of the lyrics.
“Taxi,” written and performed by Harry Chapin, was released in 1972 as the lead single from his debut album Heads & Tales. The song, a poignant storytelling ballad, recounts a chance encounter between a taxi driver and his former lover, Sue, highlighting how both abandoned their youthful dreams—he aspired to be a pilot, she an actress—and settled into unfulfilled lives.
These are songs, by any artist, that in some way, reference the Beatles.
“Reader’s Digest” is a provocative, satirical song written and performed by Larry Norman, released in 1972 on his landmark album Only Visiting This Planet. Norman, often called the “father of Christian rock,” used the song to critique both secular culture and institutionalized religion, referencing pop icons (like The Beatles, Rolling Stones, and John Lennon),
This next “Stand Out Single” is another obvious choice, but when I played the “B” side, I was blown away!
The Beatles’ iconic single “Hey Jude” / “Revolution,” released on August 26, 1968, in the United States and August 30 in the United Kingdom, stands as one of the band’s most celebrated works. Written primarily by Paul McCartney, though credited to the Lennon-McCartney songwriting partnership,
Green as in envious.
The British use of “green” to mean “envious” originates from ancient associations between the color green and emotions like jealousy and envy. This connection dates back to at least Shakespearean times, as seen in Othello (1603), where Iago refers to jealousy as the “green-eyed monster.” In modern British English, saying someone is “green with envy” remains a common idiom, meaning they are intensely jealous.
In 1969, Molland joined the rock band Badfinger, becoming a pivotal member during their most successful years.
Joseph Charles Molland, known as Joey Molland, was born on June 21, 1947, in Edge Hill, Liverpool, England. Molland began his musical journey in the vibrant Liverpool music scene, playing with local bands such as The Assassins and The Profiles. His early involvement in these groups laid the foundation for his future career in rock music.
Both the drummer and singer, a rare combination in rock music.
Singing lead and playing drums simultaneously is one of the great feats in popular music. Here I’ll post about some of the artists that make it work. The drummer is typically relegated to the rear, but here we’ll find some that should be right out front.
Exemplified by Alex Lifeson’s inventive guitar work, Geddy Lee’s dynamic bass and vocals, and Neil Peart’s unmatched drumming and lyrics—left an indelible mark on rock music.
Rush is a Canadian progressive rock band that originated in Toronto, Ontario, in 1968. Initially formed by high school friends, the group went through several lineup changes before solidifying its classic trio format. The band’s history is a tale of evolution, persistence, and groundbreaking creativity,
Songs that contain the phrase “Wavy Hair” in the lyrics.
Emmylou Harris’s rendition of Mr. Sandman was released on her 1981 album Evangeline. Written by Pat Ballard in 1954, the original version became a hit for The Chordettes, with other notable covers by the Andrews Sisters and later by Chet Atkins. Harris’s interpretation adds a country twist, blending harmonies with Dolly Parton and Linda Ronstadt,
