Jump to content

The Songfactor's Choice Top Ten Facts

Recommended Posts

  • Replies 2.8k
  • Created
  • Last Reply

Top Posters In This Topic

Top Posters In This Topic

Posted Images

From Wikipedia


Coconut is a calypso written and first recorded by Harry Nilsson.

The third single from his 1971 album, Nilsson Schmilsson it features three distinct characters (the narrator, the sister, and the doctor) all sung in different voices by Nilsson. The song is perhaps best remembered for its chorus lyric, "Put de lime in de coconut, and drink 'em both up." It has appeared in many films (including Practical Magic, in which it is proclaimed "a good song to get drunk to" and the end credits of Reservoir Dogs), commercials (most famously for Coca-Cola with Lime), and even in episodes of The Simpsons, ChalkZone, and Futurama.

Cover versions of the song have been recorded by The Baha Men, The Muppets, Jimmy Buffett, Lazlo Bane and, according to a Nilsson website, the Alice Cooper Band [1]. Australian singer Dannii Minogue recorded the song as a bonus track on her third album Girl. It was subsequently released on December 7, 1998 only in Australia as the fourth and final single from that album. It only charted at #62.

Mercy Mercy Me (The Ecology)

"Mercy Mercy Me (The Ecology)" was the second single from Marvin Gaye's legendary 1971 album, What's Going On.

Following the breakthrough of the title track's success, this song, written solely by Gaye, became one of his most poignant anthems of sorrow at the world dealing with the environment. Led by Gaye playing piano, strings conducted by Paul Riser, multi-tracking vocals from Gaye and additional background vocals by The Andantes, the instrumentals provided by The Funk Brothers and a leading sax solo by Wild Bill Moore, the song rose to #4 on Billboard's Pop Singles chart and #1 for two weeks on the R&B singles charts on August 14 through to August 27, 1971. As the single became his second million seller from What's Going On the album crashed on the soul album charts in the top five, and began charging up the pop rankings. "Mercy Mercy Me (The Ecology)" soon became one of Gaye's most famous songs in his extensive catalogue. In 2002 it was his third single recording to win a "Grammy Hall of Fame" Award.

Link to post
Share on other sites

"I Want You"

Bob Dylan

Written by Bob Dylan.

Released in 1966 as a track on his double album "Blonde on Blonde". The single was released in June same year and the B-side was "Just Like Tom Thumb's Blues".

It reached #20 in the Bilboard Charts.

From wikipedia:

It is widely thought that there are references to The Rolling Stones member Brian Jones in the line "the dancing child in his Chinese suit", with a reference to The Rolling Stones in the line "I thought time was on his side", a reference to the Stones' cover song "Time Is on My Side". This came as a result of a friendship Dylan had struck up with
Link to post
Share on other sites

"Cruel To Be Kind"

Nick Lowe

Written by Ian Gomm/Nick Lowe.

It was a track of his 1979 LP "Labour of Lust". "Endless Grey Ribbon" was the -side and it reached #12 in the US charts. Dave Edmunds plays guitar.

It was originally written for Brinsley Schwartz (musiciaan and name of the band where Nick Lowed played guitar).

"Rockin' Pneumonia and the Boogie Woogie Flu"

Johnny Rivers

Written by Huey "Piano" Smith/John Vincent

from allmusic:

Johnny Rivers' return to the pop charts was this Top Ten hit in 1972. Drawing on his Louisiana roots, Rivers wisely covered this song, which had been a huge hit for Huey "Piano" Smith & the Clowns in 1957. There is the same good-time feel of Smith's original, and it's combined with Rivers' vocal, one of the few in a long time where it sounds as though he's truly enjoying recording.


Link to post
Share on other sites

"Let´s Work Together"

Canned Heat

Written by Wilbert Harrison.

Released as a track of their 1970 LP "Future Blues".

A cover of the Wilbert Harrison´s song released one year before (he had released "Let´s Stick Together" in 1962 and canged it just a bit) that made the charts for Canned Heat.

Bryan Ferry had a hit with "Let´s Stick Together")

Link to post
Share on other sites

"Heard it in a Love Song"

Marshall Tucker Band

Written by Tony Caldwell.

A track of their 1977 album "Carolina Dreams". The single was their biggest hit and came to #14 on bIlboard Hot 100.


"Samba Pa Ti"


Instrumental written by Carlos Santana. Released on their second LP, "Abraxas".

Samba Pa Ti" translated to english is "Samba For You".

It was the B-side of the single "Oye Como Va" and one of the most well known Santana songs.

from wiki:

This instrumental was covered by José Feliciano, who added lyrics. It is also one of the tracks featured in Nick Hornby's book 31 Songs. In a case of controversial commercialism, it was used in the UK as the background music for TV ads for Marks and Spencer food in 2006.

"Watching The River Flow"

Bob Dylan

Written by Bob Dylan.

Released in 1971 with "Spanish is the Loving Tongue" as B-side. It went to #24 in the UK charts and #41 in the US.

It´s also part of the compilation "Bob Dylan´s Greatest Hits Vol. II", a double LP from 1971.

:help: :help:

"Long As I Can See The Light"

Creedence Clearwater Revival

Written by John Fogerty. Recorded in 1970 in their album "Cosmo´s Factory".

Released as the third single in July 1970 with "Lookin' Out My Back Door" as a double A sided single. It reached #2 in the pop singles US charts and #20 in the UK Top 40.

Link to post
Share on other sites

"Heard it in a Love Song"

Marshall Tucker Band

Written by Tony Caldwell.

A track of their 1977 album "Carolina Dreams". The single was their biggest hit and came to #14 on bIlboard Hot 100.


Actually it was written by Toy Caldwell. Toy and his brother Tommy were 2 of the founding members of Marshall Tucker. Tommy died in 1980, and Toy in 1993. The band consisted of Doug Gray (vocals), George McCorkle (Rythym Guitar), Paul Riddle (drums) and Jerry Eubanks (flute, sax), along with the Caldwells (lead and bass respectivly).

From allmusic writer Thom Jurek, on the MT website:

"Heard It in a Love Song," a song still heard with considerable regularity on classic radio stations, with that signature flute, 12-string electric guitar, a big, open-toned bassline played close to the vest because of the slippery guitar fills, and Gray's silvery, clear, baritone voice, which is added to exponentially by the three-part harmony on the chorus, capping the album."

Edited by Guest
Link to post
Share on other sites

Thank you, Lucky... :bow:


Howlin´ Wolf

Written by Willie Dixon, recorded and released in summer 1960 as a single by Howlin´Wolf.

According to wikipedia:

"Spoonful" is a blues standard written by Willie Dixon and lyrically based on Charley Patton's "Spoonful Blues".

It is commonly associated with Howlin' Wolf, Dixon's longtime collaborator, who first recorded the song in 1960 (as Chess single), and later included it in his 1962 "Rockin' Chair Album". The Rock and Roll Hall of Fame listed it as one of the 500 songs that shaped rock and roll.

Link to post
Share on other sites


The Bar-Kays

Written by The Bar-Kays: Jimmy King, Phalon Jones, Carl Cunningham, Ben Cauley, Ronnie Caldwell and James Alexander.

From wiki:

"The first single released by The Bar-Kays. It was issued on Stax Records on April 14, 1967.

The song was written by the Bar-Kays while they were rehearsing with Norman West, doing a cover of J.J. Jackson's "But It's Alright". It begins with the melody to the popular children's song "Mary Had a Little Lamb", and then cuts into the main riff, punctuated with a high trumpet vibrato. It features a chorus of neighborhood children who had been loitering outside the recording studio; they were instructed to shout the words "Soul Finger!" when commanded, and were paid with Coca-Colas. The idea for the title and the shouts had come from Stax songwriters Isaac Hayes and David Porter.

"Soul Finger" was a hit in the United States, and peaked at #3 on the U.S. Billboard Black Singles chart and #17 on the Billboard Hot 100. The B-side to the single was "Knucklehead", written by Booker T. Jones and Steve Cropper. "Knucklehead" charted at #28 on the Black Singles chart and #76 on the Hot 100. "Soul Finger" and "Knucklehead" were the first two tracks of the Bar-Kays' first LP, Soul Finger.

The song was featured prominently in the 1985 film Spies Like Us in a scene where Soviet missile control personnel hold a party.

Link to post
Share on other sites


The Black Crowes

Written by Chris and Rich Robinson. Released in 1992 in their second album, "The Southern Harmony and Musical Companion" and also as a single. The single got to #48 in the Billboard Hot 100 charts.

From allmusic:

One of the standouts of the Black Crowes' Southern Harmony and Musical Companion album, "Remedy" utilizes the classic sexual/drug metaphor as a central theme of the lyric thrust. A great example of the group's ability as a band unit, the song has some excellent gospel roots, not unlike some of the best work of the band's obvious heroes, Humble Pie, among others. The slowed-down bridge lets the song breathe properly and is undoubtedly one of the reasons that it's now considered one of their defining classics.
Link to post
Share on other sites

"Room To Move"

John Mayall

Written by John Mayall. Released in 1969 in his live album "The Turning Point".

There was no Mick Taylor, he had just left to play with the Stones.

allmusic says:

Although the album he recorded in 1966 with Eric Clapton would eventually become his most famous recording, "Room to Move," done three years later for The Turning Point, is probably John Mayall's most famous song. In keeping with the rest of the material on The Turning Point, "Room to Move" was recorded live with a drumless, low-volume quartet. Its principal hook is a catchy, brisk riff, played in stop-start tempo in unison on harmonica and flute. That in itself was unusual for what was nominally a blues act. Although that riff adhered to a conventional blues progression for its first half, it went into an almost jazzy ascending mode before returning to the root melody for the chorus. The lyric was a basic, almost flippant assertion of a guy's right to move freely without restraining commitment, but sounded fresh because, unlike much of the blues, there was a breezy, low-key, almost folky feel about the arrangement. Mayall took the spotlight for an extended harmonica solo, and at some points the percussion wasn't drums but mouth noises, still holding the attention of the audience judging from the hearty applause. "Room to Move" was actually done at the Fillmore East gig at which The Turning Point was recorded almost as an afterthought, as something that "had a guaranteed kind of beat and was easy to play," as Mayall told John McDermott for the liner notes of the 2001 CD reissue of the album. Yet it ended up being the album's most popular track, getting more airplay on FM radio than any other Mayall song, helping The Turning Point to become his most successful album.

Link to post
Share on other sites

I'm back, updating the facts again! Sorry for my lateness, our internet connection has been down for the best part of this week.

The Songfactor's Choice Top Ten #101

THREE songs needing your help!

Smoking Gun - Robert Cray Band (1987)

Shine - Collective Soul (1993)

We Just Disagree - Dave Mason (1977)

If you have any info on any of the songs mentioned anywhere in this thread, please feel free to post your knowledge here. Submissions on songs will be collated and sent to the main site and you will receive credit for your contribution.

The Songfish thanks you.

Link to post
Share on other sites

Katie!! :) :bow: :bow:

"We Just Disagree"

Dave Mason

Written by Jim Krueger.

Released in 1977 in his album "Let It Flow".

According wikipedia:

"We Just Disagree", Mason's 1977 solo hit has become a staple of Oldies and Adult Contemporary radio playlists.

In 1977, Mason had his biggest hit with "We Just Disagree", reaching #12 on the Billboard Hot 100

That´s all I know... :P

Link to post
Share on other sites

Robert Cray


Aug 01, 1953 in Columbus, Georgia


'70s - 2000s


Vocals, Guitar

Original Release Date:

Jan 1, 1986


Island Def Jam

In 1986 his breakthrough album, Strong Persuader, for Mercury (containing "Smoking Gun") won him a Grammy and shot his asking price for a night's work skyward. Unlike too many of his peers, Cray continues to experiment within his two presiding genres, blues and soul.



MSN Music

Link to post
Share on other sites

Shine ~ Collective Soul

Single by Collective Soul

from the album Hints, Allegations, and Things Left Unsaid

Released 1993-1994

Recorded 1992-1993

Genre Post-grunge


Length 5:06

Label Atlantic Records

Producer Ed Roland

Collective Soul singles chronology

None "Shine"

(1994) "Breathe"


"Shine" is the first hit single by post-grunge band Collective Soul. Released in 1993 on the album Hints, Allegations, and Things Left Unsaid, "Shine" became the #1 Album Rock Song of 1994, and won a Billboard award for Top Rock Track.[citation needed]

In 2001, Dolly Parton recorded a cover of "Shine" with members of the alt/Bluegrass band Nickel Creek. Parton's recording of the song earned her a Grammy Award for Best Female Country Vocal Performance.

Link to post
Share on other sites

Thankyou to my lovely contributors again!

The Songfactor's Choice Top Ten #102

THREE songs again this week:

Ophelia - The Band (1978)

Wildfire - Michael Martin Murphy (1975)

For Tomorrow – Blur (1993)

If you have any info on any of the songs mentioned anywhere in this thread, please feel free to post your knowledge here. Submissions on songs will be collated and sent to the main site and you will receive credit for your contribution.

The Songfish thanks you.

Link to post
Share on other sites

For Tomorrow ~ Blur

(1993 - Modern Life is Rubbish)

This was only added to the album after David Balfe, of their record company, complained that it wasn't commercial enough, he wanted them to record some hit singles

Damon Albarn wrote this on Christmas Day 1992 (source)

In 1992 Blur did a series of concerts in the US, which wasn't well recieved by both the band and the audience. Grunge was at it's peak at that time and they couldn't do anything with it. As a result they started to develop a very British-Centric style. As an example to this, the single's cover features two British World-War II planes.

Also the video, directed by Julien Temple, features them in various famous London scenes, including the Thames in front of Big Ben and the Palace of Westminster, Trafalgar Square, the Nelson columnand the famous London buses

At the time of the release this was only a moderate success, it charted on #28 in the UK, but in no other country.

But over time it gained much popularity, it was voted #15 of "50 Best London Songs" of Time Out magazine (source)

it was part of MOJO's "The 50 Greatest British Tracks Ever" (source)

and Blur fans voted it their 5th favourite single (source)

the lyric "Says let's take a drive to Primrose Hill /

It's windy there and the view's so nice"

was immortalised by an unknown fan who wrote "and the view's so nice" on a road on top of the Hill (source)

and one I'm not so sure about:

at the end of the song there is the mention of Jim who "goes to a house in Emperor's gate"

I read somewhere that when Albarn's parents first came to live in London they moved to Emperor's Gate, as the next door neighbours to the Lennon's

wikipedia mentions that too, but I'm not so sure about the source...

Link to post
Share on other sites

Wildfire - Michael Martin Murphy (1975)

From Wikipedia

In 1973, Murphey signed to Epic Records and released his album Michael Murphey that same year. In 1975, he released his seminal album, Blue Sky, Night Thunder, which contained the hit "Carolina in the Pines" and what is perhaps his masterpiece, "Wildfire," a sentimental song about a woman and her ghost horse. As a boy, he first heard the story of a ghost horse rescuing people in the desert from his grandfather. Years later, Murphey had a dream about this ghost horse and wrote the words and music the same day.

In May 1975, "Wildfire" reached No. 1 on the Radio and Records charts, No. 3 on Billboard's Pop Chart, and No. 1 on all Adult Contemporary Charts, giving Murphey a new level of commercial success and exposure. The song's success was due, in large part, to the unique harmonies supplied by Jeff Hanna and Jimmy Ibbotson from the Nitty Gritty Dirt Band, and the beautiful piano introduction based on a classical piece by Russian composer Alexander Scriabin, played by master jazz pianist Jac Murphy.[original research?]

Link to post
Share on other sites

Thankyou again lovely people, your efforts are greatly appreciated

The Songfactor's Choice Top Ten #103

THREE songs this week:

Roll On Down The Highway - Bachman Turner Overdrive (1974)

Brother Louie - Stories (1973)

Pushin' Too Hard - The Seeds (1966)

If you have any info on any of the songs mentioned anywhere in this thread, please feel free to post your knowledge here. Submissions on songs will be collated and sent to the main site and you will receive credit for your contribution.

The Songfish thanks you.

Edited by Guest
Link to post
Share on other sites

"Brother Louie" is a controversial song about an interracial love affair between a black woman and a white man. The song was originally recorded and released as a single in 1973, by the British band, Hot Chocolate (who later had a chart-topping single with "You Sexy Thing").

Ian Lloyd sang lead vocals on Stories' version.

Errol Brown composed the song and sang lead vocals on Hot Chocolate's version.

Both versions were released as singles in 1973. Stories' version reached Number One on the U.S. Billboard Singles Chart in that year.

Stories' version is one of Sammy's favorite one-hit wonders.

:afro: :afro: :afro: :rockon: :rockon: :rockon:

Link to post
Share on other sites

"Pushin' Too Hard"

The Seeds

Written by Sky Saxon (born Richard Marsh)

Released in October 1966 in their first album "The Seeds".

"Try To Understand" was the B-side and it reached #1 (Chicago Local Chart) and #2 (Los Angeles Local Chart) and # 36 in the US National Chart.

Sky Saxon: lead vocal, bass & harmonica

Daryl Hooper: piano & organ melodica

Jan Savage: guitars, lead rhythm & twelve string

Rick Andridge: drums

from allmusic:

"Pushin' Too Hard" is one of the songs most commonly cited when people are trying to celebrate or denigrate 1960s garage rock, and sometimes championed for precisely the same reasons as others put it down, though in time the critical balance tended toward praising the tune rather than dumping on it. Even some of its fans, though, point to it as an epitomization of 1960s punk at its most simplistic, or even moronic. "Pushin' Too Hard" is a simple song; there are only two chords. But it's not as easy to write a simple, memorable hit song as some have claimed, and "Pushin' Too Hard" has a hook and an atmosphere that sticks, unlike many similarly simple garage rock songs by the Seeds and other groups. The two chords that are alternated between throughout the song, for one thing, are pretty odd: dark and minor, yet nigglingly creepy. The combination of thundering stiff hyper-fast drums, fuzzy guitar, and electric piano creates a foggy (some might say smoggy, given the climate of the city of Los Angeles, where the Seeds were based), stormy atmosphere. Sky Saxon's vocal is the zenith of '60s punk insouciance: harsh, nasal, sub- Mick Jagger-esque, complaining, half-spoken, self-pitying, and arrogant all at once. The lyrics, as basic as they are, could be interpreted as a complaint against one girl in particular, yet also as a rant against society as a whole. Crucial to the musical appeal of this recipe are the ethereal, nerve-jangling high harmonies at the end of each verse, as the other Seeds mournfully drone "too hard." The instrumental breaks are, if anything, even stranger than the verses, as Daryl Hopper lets loose with a bitter, almost jazzy electric piano solo, repeating it on a higher octave and stopping with ultra-high enunciations of the principal two-chord riff. Then he retires so that Jan Savage can uncork a disjointed, prickly guitar solo that sounds like an evil alternate-universe derivation of the one heard on Billy J. Kramer's British Invasion hit "Bad to Me." When Savage winds down with some low notes as if he's running out of things to play, Saxon re-enters for another verse and the fadeout. "Pushin' Too Hard" made only number 36 nationally, but its impact at the time was somewhat greater as it went considerably higher in some regions, and like many such songs, it attained legendary status when it was included in the Nuggets compilation.

Link to post
Share on other sites

The Songfactor's Choice Top Ten #104

Just the one song missing from the Songfacts database this week:

Sin City - AC/DC (1978)

If you have any info on any of the songs mentioned anywhere in this thread, please feel free to post your knowledge here. Submissions on songs will be collated and sent to the main site and you will receive credit for your contribution.

The Songfish thanks you.

Link to post
Share on other sites

Create an account or sign in to comment

You need to be a member in order to leave a comment

Create an account

Sign up for a new account in our community. It's easy!

Register a new account

Sign in

Already have an account? Sign in here.

Sign In Now

  • Create New...