What are some slow pop songs

It was published on March 13, 2014, the no less than 700th edition of the Musikexpress. And it was tough: we had a prominent jury of tens of musicians such as Lana Del Rey, Mark Lanegan, Danger Mouse, Marteria, Thees Uhlmann, Judith Holofernes, WhoMadeWho as well as authors, journalists and experts from other magazines, daily newspapers and radio stations and record labels asked for their all-time favorite songs. The result of painstaking detailed work was nothing less than a list with the 700 best songs of all time including lyrics for each (!) Of these songs, and we have gradually presented this list to you online at Musikexpress.de/700.

Here is an overview of the individual parts of our "700 best songs of all time":

And here come after our places 700 to 651, 650 to 601, 600 to 551, 550 to 501, 500 to 451, 450 to 401, 400 to 351, 350 to 301, 300 to 251, 250 to 201, 200 to 151, 150 to 101 and 100 to 51 now our seats 50 to 11 in detail:

50. Michael Jackson - "Billie Jean"

It should have really happened to Billie Jean: A crazy groupie told Michael in a bizarre love letter that he was the father of one of their twins. Perhaps that is why a feeling of paranoia wafts through this song that finally made Jackson the pop sensation of his generation. Anyone who was not addicted to the then 24-year-old ex-child star at the time, Pharrell Williams said years later about "Billie Jean", inevitably became a fan when the song and music video catapulted THRILLER in 1983 into the best-selling album. The mix of futuristic dance-funk, the cat-like creeping bassline and Jackson's tense vocals was irresistible.

49. Sam Cooke - "A Change Is Gonna Come"

A protest song, a pop ballad, a spiritual hymn: For Sam Cooke "A Change Is Gonna Come" was a return to his roots in gospel and at the same time the most courageous maneuver of his career: As a political statement on racial discrimination by a black musician who stood up to when it had actually made it popular with the white public as a crossover artist, it became one of the most important anthems of the civil rights movement. With a melancholy soul voice he sings to René Hall's Hollywood orchestration of pain, sadness and hope: "It's been a long time coming / but I know a change is gonna come."

48. Radiohead - "Idioteque"

When Radiohead came down from the summit of the majestic OK Computer, they were strangely changed. Statically charged to the tips of your hair and with an electronic Elms fire around your heads. It smacks and slurps and chirps and clubs. Jonny Greenwood listened to remote electronics from the 1970s and found this little rhythmic sculpture from a sound professor, and from Paul Lansky the enchanted and blurred timbres of "Mild und Leise", which Lansky in turn borrowed from Richard Wagner. Basically we hear the alienation of a chord from the finale of “Tristan und Isolde”, 1865, which was alienated as early as 1973. Thom Yorke conjures up the end times in apocalyptic metaphors. The rebirth of rock from the spirit of electronics.

47. Sparks - "This Town Ain't Big Enough For Both Of Us"

It's easy to understand the song as a caricature: The title takes up the great Western cliché; Singer Russell Mael has fallen in the high register more than once, although he only has to go up there because his brother Ron wrote the piece in A major, which, according to Russell, "was the only key that Ron could play at the time". Still, “This Town Ain't Big Enough For Both Of Us” is no slapstick, but the snappiest glam single ever, a pounder with a rollercoaster melody that always comes to mind when one is desperately wondering why so many Pop hits like clinically dead.

46. ​​The Ronettes - "Be My Baby"

If there was one song at the time that had to prove Phil Spector's genius, it was “Be My Baby”. The producer took the idea of ​​the technical process of recording music further by turning the studio into its own instrument. His wall of sound for the love roll call "Be My Baby" consisted of a thick layer of drums, lots of brass, a handful of guitars, organs and lots of percussions. With his overdubs, Spector had pushed a wave of sound that literally sloshed out of the loudspeakers of American radios in the early 1960s. When he heard the song for the first time, Brian Wilson is said to have pulled over to the right side of the road because he was simply blown away by the song on the car radio: "The greatest pop record ever made - no arguments here." A deal.

45th Eagles - "Hotel California"

Far too long for a single, far too complex, far too elaborate for its makers. “Hotel California” was the last riot of mainstream rock around 1976/77 that was threatened by a change of time. The eloquent and metaphorical text gives cause for speculation to this day. Is this describing a satanic rite, the inside of a mental hospital, or is it “just” the Californian dream that became a nightmare due to drug and ego problems? “Hotel California” is and will remain a mystery to a great song.

44. Bruce Springsteen - "Thunder Road"

"Thunder Road" was born sometime in 1974. The song was still called "Wings For Wheels" and the girl was not yet called Mary. It was not until August 1975 that it shone in all its breathtaking grandeur: as the prelude to the epoch-making album BORN TO RUN. It's about the magic of the night, about losers and about Mary, who is no beauty, but very fine, and who dances to the music of Roy Orbison. About the freedom, about the wind in your hair and about the feeling of this one time - maybe - winning. No matter how often you have heard “Thunder Road” over the years, whether as a piano ballad or in the cinemascope sound of the E Street Band: It always touches you deep inside - where the longing sits .

43. David Bowie - "Life On Mars?"

Lots of white, red hair, blue eyeshadow - in the 1973 Mick Rock video, Bowie wears the androgynous “Starman's” make-up. “Life On Mars?” Is something like the prequel to the glam rock opera ZIGGY STARDUST (1972), a piano drama with surreal motifs that revolves around cinema, pop and escapism. Sing-along hymn and mercury art music in the same moment. Bowie's Cockney voice has seldom penetrated a song more intensely, and guitarist Mick Ronson has never written a more beautiful string arrangement. The beginning and end of the video remain white, images of the noise of dreams.

42nd Television - "Marquee Moon"

Televisions are post-punk, even before punk existed. Tom Verlaine's group counters the hey-ho-lets-go-ethos of the Ramones with a playfulness and a willingness to experiment, as if Albert Ayler had secretly sneaked into the CBGB's. No song outlines the philosophy of Television better than “Marquee Moon”, her pièce de résistance between pop and art rock, which has been developing steadily from 1974 onwards and which, with its wildly proliferating guitar arabesques and solos, becomes longer and longer. On the album it is 9 minutes 58 - and is faded out! Since then it has been played on in the minds of other musicians and continues to blossom in new colors.

41. Curtis Mayfield - "Move On Up"

On the packaging: a cool guy in a yellow suit. In the box: eight songs with which Curtis Mayfield reflects the combative mood of Afro America at the beginning of the 1970s. Among them: “Move On Up”, this funky nine-minute descent with enormous nonchalance with dashing brass, pulsating percussion, proto-disco strings and Mayfield's unmistakable falsetto singing. The message: Ass up and don't let it get you down, even if it’s going to be a long way. Towards the end it is purely instrumental and increasingly trance-like.

40th Sex Pistols - "God Save The Queen"

"God save the queen, her fascist regime", gives Johnny Rotten, and the band puts a "No future" on it - the stuff of the one-a-scandal for the Queen's silver anniversary in 1977. The royalists were allowed to outrage reflexively, the young punks had their fanal, the world cheered the radically recovered rock - & - roll empire. In this hymn, the force of the best rock years and the poisoning and drooling of those who wanted to overthrow this long selfish rock from the throne meet. Who better to help the Pistols than the Queen? A coup d'état in recent pop propaganda.

39. Blumfeld - "Amplifier"

In the early 1990s, Jochen Distelmeyer was definitely the best copywriter in the republic. “Amplifier” is a word monster that reports from the inner mill of thought, which vehemently declines love and leaves the forms of pop songs far behind. Hamburg school? Nonsense, university for any subject with a proseminar for cleverly placed cross-references and the best feedback on European pop music. Still bomb today, although the 1994 version of the album has more urgency in content and form than the original single.

38. Link Wray & His Ray Men - "Rumble"

Link Wray (1929–2005) had already created in 1958 what would move into the standard repertoire of generations of rock musicians: distorted guitars and feedback. The instrumental "Rumble" was also remarkable in other ways. The excruciatingly slow pace was in stark contrast to its origins in rockabilly, R’n’B and rock & roll. Wray achieved the characteristic sound by drilling holes in the loudspeakers of the guitar amplifiers. Even if the artist did not intend it: “Rumble” is considered to be the birth of the “Power Chord”, which is still played to excess in rock and metal today.

37. Kate Bush - "Cloudbusting"

In the early 1950s, the Austrian psychoanalyst Wilhelm Reich was convinced that he could play the god of the weather. With the help of his invention, a machine called "Cloudbuster", the esoteric wanted to condense clouds and let it rain. With his son Peter, he pulled the heavy device up a hill to experiment. Peter Reich later recalled these experiences in his memoirs - a book that inspired Kate Bush to “Cloudbusting”. In the video for the hypnotic-heavenly synth-pop march, the singer gives the son while Donald Sutherland plays Wilhelm Reich.

36. Bob Dylan - "Subterranean Homesick Blues"

The electric Dylan, a comparatively new protagonist in American rock, the folk community was not amused. The successful Dylan, number 39 and thus for the first time in the US singles charts. The Stream of Consciousness Dylan, who reports on drugs, politics and parking meters, but may mean something completely different. John Lennon was so much a fan that he feared that he would no longer be able to write songs. And: He was so much a fan that he put the number on the Harry Nilsson album PUSSY CATS (1974), which he produced.

35. Led Zeppelin - "Stairway To Heaven"

If “Stairway To Heaven” ended after 4:18, it would be just another of the many enchanting folk songs that Led Zeppelin have left us. Depending on the legend, the piece was written either around the campfire or at the fireplace, at least around a fire. And that fits. Warm acoustic guitars, flattering flute tones and Robert Plant, who, as so often, sings mysterious and esoteric things. Together with the almost grotesquely great success of the song, the line "’ cause you know sometimes words have two meanings "contributed to rumors that this was a work of Satan. With appropriate messages, if you let the song run backwards. All nonsense, of course. Basically, “Stairway To Heaven” only combines the folkloric with the rocky side of Led Zeppelin. The result is miles away from the slow blues rock showers of earlier records and a ballad of the purest water - up to minute 4:18. Then John Bonhams sets in the drums like a Victorian steam engine and musical events in motion that boil down to a gradual acceleration and culminate in a climax. Lord God. Yes, this is actually all about sex for eight minutes.

34. The Modern Lovers - "Roadrunner"

I discovered the piece on a cheap “Punk And New Wave” cassette from the charity shop. “Roadrunner” immediately felt like the song found its way onto this tape just for me. Jonathan Richman sounded so excited to share his message with us that he partially forgot to sing. It was the work of a man drunk by the power of rock'n'roll. Because the version on my tape was a live recording, I couldn't understand everything. But I could hear the lines “I'm in love with Rock’n’Roll and I’ll be out all night” and “Don't feel so alone with the radio on, radio on!”. No question about it, this man was the greatest poet I had ever met! I was in love with “Roadrunner”, I kept listening to it, my hand in my pocket on my Walkman, my finger on the Rewind button: over and over again. I felt invincible. If you don't understand the text of "Roadrunner" today, the Internet explains that it is about driving on Route 128 through Massachusetts while the radio is on. But I know better: It's about much more than that. These first lines, the only ones that were understandable on my tape, are the most apt description of those moments of happiness of sheer joie de vivre I have ever heard. And that's why “Roadrunner” is the best song of all.

33. Beastie Boys - "Sabotage"

The rumbling screams of the three New Yorkers are inextricably linked with Spike Jonze's masterful video clip: In less than three minutes, Jonze unfolds an adrenaline-filled action movie fantasy of mustached supercops. The song itself is a powerful, rabid hybrid of punk and rap. The distorted guitar riff, the screeching scratch noises and the over-the-top raps - everything is loud and powerful: From the first "IIIII can't stand it!" To Adrock's nervous breakdown, the Beastie Boys storm through the song like a roaring mob through the city - foaming with rage and yet graceful like the standard bearers of Generation X.

32nd Queen & David Bowie - "Under Pressure"

Davie Bowie actually only stopped by Queen's Mountain Studios in Montreux to record backing vocals for “Cool Cat”. He was then dissatisfied with his contribution, which is why the vocal track did not make it on the album HOT SPACE in the end. But during the session John Deacon played this bassline over and over again, which would later be honored several times as the best of all time. Bowie was enthusiastic, wrote a socially critical text that Freddie Mercury accompanied with fragile scat improvisations. And so a demo called “Feel Like” became Queen's second No. 1 hit (of only three) in England.

31. The Clash - "Rock The Casbah"

As a song of peace and understanding, “Rock The Casbah” was embedded in the declarations of war on the album Combat Rock and paved the way for the most political of the first generation of punk bands into the arenas of America: stadium rock, but inspired by the unwavering belief in change. Not that the clash groove was a foreign word until then, but

Topper Headon's dancebeat is utterly irresistible and driving here, while Joe Strummer intersperses Arabic, Hebrew, Turkish and Jewish words to tell of the bomber pilots who defy the king's orders: instead of dropping bombs, they play rock music on their planes.

30. John Lennon - "Imagine"

An amazing number of people hate this song. He is kitschy. Good, a matter of taste. Others call it: touching. He is naive. Lennon replies to them himself: "You may say I'm a dreamer, but I'm not the only one." He is harmless. I beg your pardon? At the beginning of a deep republican decade, is the most powerful voice in rock’n’roll considering the abolition of religion, property and national borders and questioning the basic assumptions of the largest religious communities such as the concept of heaven and hell? And wrapped it up subversively in a consciously radio-friendly children's song that is accessible to the maximum audience? Harmless?

29. The Rolling Stones - "Gimme Shelter"

Apocalypse now: The sixties are drawing to a close, the "flower" is exhausted. The Soviets are in Prague, race riots are raging in the USA and the war is escalating in Vietnam.The Stones take their role as commentators on current affairs seriously, the central line of this gloomy, almost desperate blues rocker is: "War, children, it's just a shot away!" Keith Richards' soulful intro is just the calm before the storm Jagger's worrying sermon follows a monumental riff, guest singer Merry Clayton pushes her vocals to the limit. An emotional boom from a song.

28. Prince And The Revolution - "I Would Die 4 U"

What else Prince can and wants, he will demonstrate on the turbo-colorful follow-up album AROUND THE WORLD IN A DAY (1985). Until then he pulls two outrageously straight pop hits out of his hat: “I Would Die 4 U” is one of those songs that will make Prince a patron saint of the later electroclash scene. A bass synthesizer as sovereign, the drumbox distributes handclaps such as slaps in the face, Prince and his girls keep popping this oath of love around the ears: "U - I would die 4 u!" (Why is the following, fifth and last PURPLE RAIN- Single "Take Me With U" didn't make our list, you have to ask the jury.)

27. Lou Reed - "Perfect Day"

In the Internet forums, users are beating their heads. “Sure, song is about heroin,” say some. The other: "Lou Reed has emphasized often enough that it is about disappointed hopes." Both are interesting because at first you hear something completely different, namely an evening heavy, elegiac hymn, which with its large melodies is also in a 1: 1- Reception works great. Even if the drug story may be legend, the song's success has a lot to do with intoxicants: The "Trainspotting" soundtrack (1996) made "Perfect Day" a hit more than 20 years after its creation; previously it was only the album track and B-side of "Walk On The Wild Side". What a waste.

26. Robert Wyatt - "Sea Song"

Robert Wyatt's fall from a window in 1973, paraplegia, wheelchair. The album ROCK BOTTOM marks the zero hour for the ex-soft machine drummer. In the six and a half minutes of “Sea Song” Wyatt reinvents himself again - in the floating keyboard sounds and a puerile, fluttery singsong that makes his transformation from jazz rock drummer to great jazz and rock alchemist audible. In the slightly surreal “Sea Song” he finds a highly emotional language that shimmers less in words than textures. We love Robert Wyatt for that.

25. Massive Attack - "Unfinished Sympathy"

Massive Attack were among the earliest professionals who not only used sampling as a source for loops and gimmicks, but actually created new songs from the material. And even after more than 20 years in which recycling has played an increasingly important role in pop music, you can't think of a song that surpasses the resulting “Unfinished Sympathy” in terms of pulling power. What was added to the samba breakbeat and the other samples from jazz and fusion jazz should not, of course, be underestimated: Shara Nelson's extremely urgent vocal performance - only appropriate to the song theme of lovesickness - meets a cinematic string arrangement that doesn't want to know much about the bombast, but all the more from the distance. Epochal.

24. Queen - "Bohemian Rhapsody"

One of the few pop pieces where old and young alike will have their skulls blown away in sheer pleasure. You will not and will not get tired of it. “Bohemian Rhapsody” is more than just a song, it is six songs. No refrain returns, there is no verse. The body is made up of six parts that would not be viable on their own - but together make an immortal hybrid being. It doesn't age. If hard rock goes out of fashion, operetta is in demand. Those who are bored with ballads might prefer to listen to this juicy guitar solo. And if you already know all six songs, you can pay attention to the lyrics. And despair of him. In 1975 prog rock was in pretentious bloom. Nobody denied this style back then as resolutely as Frank Zappa with his sarcastic superiority - and Queen with her travesty on the seriousness of the esoteric that prevailed at the time. “Bohemian Rhapsody” was the proof that the whole thing can be fun and casual, without giving up the big theater. So in this song, the whole of Freddie Mercury will be locked in forever like a dragonfly in amber.

23. The Beach Boys - "Good Vibrations"

“Good Vibrations” has never been just the good mood song it haunts through beach party playlists today. In 1966, Brian Wilson created an intoxicating masterpiece in months of studio work, which is a colorful drug trip from one mood swing to the next: the sound changes from the delicate, echoing dream sequences of the verses to the euphoric, polyphonic chorus of the choruses. Everything flows into one another in a kind of hippiesque trance: ghostly whirring theremin, saloon piano clinkers, Hammond organ. And above it all hovers the rhythm of the rattling tambourine - like a promise that carries the California Dream out into the world.

22. Power plant - "Autobahn"

Even if the single reached number eleven in the British and number 25 in the US charts in 1975 - only the LP version reveals all the pleasure. A song like a radio play, to the alienated electro beat from the "Vox Percussion King", it goes over mountain and valley, staged by then extremely innovative, melodic synth sounds, sometimes commented by rather emotionless singing. A pioneering act of electric rock. It remains to be seen whether it was intended, but with “Autobahn” Kraftwerk exactly corresponded to the - and somewhat creepy - stereotype of the cool, technoid Teutons, which is so popular abroad.

21. Pet Shop Boys - "Being Boring"

Even though the Pet Shop Boys dealt with AIDS as early as 1987 on ACTUALLY (“It Couldn't Happen Here”), “Being Boring”, which Neil Tennant wrote in response to the death of a friend from immunodeficiency, is their first big hit When it comes to storytelling pop: a review of life together, the move to the big city and the experiences there. "One of the best songs we ever wrote," says Neil Tennant today. We are inclined to agree with him. The pop number, with its wonderfully cushioned Harold Faltermeyer production, was not a big hit at the time: it didn't get more than number 20 in the British charts.

20. Bob Dylan - "I Want You"

It is the eve of the "Summer Of Love". The Beach Boys release their PET SOUNDS, the Beatles will counter a little later with REVOLVER. The sounds become psychedelic, the robes as colorful as the flowers in your hair. But Dylan likes himself as a cool bohemian in a dark suit prancing through the streets of New York - just like the cover photo of his eleventh single "I Want You" shows him. Musically too, nothing could be further from the current zeitgeist than that light-footed piece of folk rock recorded in Nashville in the thin, wild BLONDE ON BLONDE mercury sound, which is teeming with Dylan-typical figures such as undertakers, organ grinders, chambermaids and drunk politicians . And all the enigmatic stanzas lead again and again into the strikingly simple refrain: “I want you, I want you, I want you so bad.” Desire is eternal - and in vain.

19. Prince - "When Doves Cry"

This track was chosen as the first PURPLE RAIN single in order to draw all attention to the all-rounder from Minneapolis after the success of 1999. Prince had written it overnight and recorded it by himself because "Purple Rain" director Albert Magnoli wanted to see a few more dramatic scenes underlined. Prince refines the rather spartan hybrid of soul-dramolet and dry club board with a legendary stirring vocal performance, pervading it with choirs, sighs and screams. In the almost six-minute version of the album, the piece wriggles in its grief until a synthesizer solo cheekily ties a purple bow around it for the finale. "When Doves Cry" is the first Prince single to reach number one in the US charts and makes everyone addicted to more ...

18. Radiohead - "Paranoid Android"

The lead single from Radiohead's first masterpiece OK COMPUTER was a joke in every respect: Approaching the radios with a six and a half minute multi-faced prog rocker? Ridiculous. Then the title: Thom Yorke considered the depressive robot Marvin from "The Hitchhiker's Guide to the Galaxy" a suitable caricature for himself, or better: for what the media saw in him. Accordingly, the text is impersonal. However, it is performed with an intensity that goes deep under the skin. The point where guitarist Jonny Greenwood's monster riff cuts the desperate “Rain down, rain down” part is one of the most powerful explosions in music history. Ironically, with their most complex single, the band was highest in the British charts, at number three.

17. Talk Talk - "I Believe In You"

The popular music of the 20th century has not come closer to the sacred than here, in these 6 minutes and 24 seconds. Now pop aims at all sorts of things, but rarely definitely at the sublime. If the shot just misses, garbage is created. It often goes wrong, which is why we hike over kitsch glaciers. “I Believe In You” is different, to keep the picture. A rare shot in the black. This closeness to the sublime has made the song almost transparent, it is a network with wide meshes and loops of calm. This is the rhythm section of Lee Harris on drums and Paul Webb on bass, the open backbone of this song. It is a sad, but floating lightness, the complete set of instruments for the jazz of the 60s and this dabbing borrowed from Erik Satie in order to build them into something much bigger. Everything flies. Just off the ground only, but it flies. That would be enough, as in the late work of this volume everything is only flowing and surging, burning up and ebbing away. With “I Believe In You”, however, the sky opens, this women's choir sounds and pours its eternal light over the 80s. But they put on their sunglasses and danced on.

16. New Order - "Blue Monday"

Right at the beginning, when the manic desk hook on the bass drum kicks in, one thing is clear: something new and exciting is happening here. In the background the sequencer joins in, followed by the bass and snare drum, a split second of absolute silence, then the bass again, the drum beat, and finally the dreary spoken word by Bernard Sumner. At the time, New Order probably had no idea that this would be the beginning of one of the groundbreaking dance tracks at the beginning of the eighties. Especially since the almost seven and a half minute long departure into the electronic age is proving to be technically demanding. During the first arduous attempts to program the sequencer by hand with binary code, the iconic “Taktaktak” intro emerges rather by chance. The song's success in the emerging house scene is enormous. Although “Blue Monday” becomes the best-selling 12inch / maxi single in history, the Factory label faces a financial disaster: Due to the elaborate design of the maxi cover (see caption), the record company is making a loss. Only after countless re-releases does the song pay off in the end. From an artistic point of view, it doesn't matter: What the band succeeded in doing as Joy Division with the emotionally charged “Love Will Tear Us Apart”, New Order succeeded again with the cool monotony of “Blue Monday” - writing a classic that sounds absolutely fresh even 30 years later.

15. Prince and The Revolution - "Purple Rain"

West Germany needs this official rock ballad (number 5 in the singles charts) in order to finally go into the captivity of the horny, pious prince for the next few years with the broadest consent. Whereby "Rockballad" falls far too short for a song that works its way from soft rock to a full-blown gospel and from there to a full orchestral finale in almost nine minutes, recorded live and refined with loads of overdubs, Other string pomp borrowers can only dream of. With a clear intention, Prince also fights his way through some classic rock clichés, which have actually been considered obsolete since the beginning of the eighties and not least because of his work. Is this guy allowed to do what he wants?

14. Glen Campbell - "Wichita Lineman"

Billy Joel once said of the play: "It's a song about an ordinary person who thinks very unusual things." This is exactly where the great talent of the brilliant songwriter Jimmy Webb was at the end of the 1960s: like a brilliant director, he looked for normal ones Characters and transplanted everything into their emotional world that makes life so wonderful and difficult to bear: the great love, the infinite loneliness, the damned romance. Shortly before, Webb had already written “By The Time I Get To Phoenix” for country star Glen Campbell; it was about a poor guy who drives through the United States on the way to his loved one because he cannot afford a flight. The "Wichita Lineman" is the employee of a telephone company who has to install the overhead lines for telephone connections in the loneliness of Kansas. So the guy makes sure that everyone in this huge country can soon talk to everyone - and with this work he is the loneliest person in the endless West. What a tragedy!

13. Bob Dylan - "Like A Rolling Stone"

It's the moment that turns popular music upside down. Bobby Gregg's driving beats. Al Kooper's threatening organ sounds. Michael Bloomfield's nifty guitar licks. And this voice, which - very juvenile arrogance and irritating coolness - hurls text cascades at you: "Once upon a time you dressed so fine, threw the bums a dime in your prime, didn't you?" Which tells of the loss of innocence and of the fractures of a life. Which sneers in the chorus “How does it feeeel?” And “to be on your own” rhymes with “no direction home”. In "Like A Rolling Stone" poetry and rock'n'roll dance on the rubble of pop. At the same time, the song is also a manifesto, over which it is written in flaming letters: "We against them". This masterpiece was created in a wooden house in Dylan's refuge Woodstock. Master Bob shrugs off all eulogies, all attempts at interpretation: "The song just came to me like that, you know," he says. Elvis Costello will later recall that it was a shock to "live in a world where there was Manfred Mann, the Supremes and Engelbert Humperdinck - and suddenly something like" Like A Rolling Stone "appeared".

12. Kate Bush - "Wuthering Heights"

Yes, you have to get used to the voice first. But isn't that the case with everything in life, including everything that is beautiful? 36 years after its release, “Wuthering Heights” remains one of those songs that you can't listen to on the side. The one absorbed with all its magical splendor, the world around it switched off. The story of its genesis is almost as uplifting as the song: Kate Bush was 18 years old when she inspired the film version of Emily Brontë's "Wuthering Heights" (German: "Sturmhöhe") for the piece. The barely full year of age asserts herself against her powerful record company EMI, which wanted to make “James And The Cold Gun” Bush's debut single, and decided to introduce herself to the world with “Wuthering Heights”. The world was right: Bush became the first female artist to write a # 1 self-written hit in the UK. Most gigantic moment: How her voice at the end merges with the solo of Alan Parsons Project guitarist Ian Bairnson and slowly disappears.

11. The Kinks - "Waterloo Sunset"

While contemporary rock lyrics in 1967 liked to pay homage to psychedelic surrealism, Ray Davies concentrated on what he knew: London, its people, their longings. Davies is the lonely observer in this urban Britpop miniature, he tells of "Terry and Julie" who cross the "dirty old" Thames at Waterloo Station, enough of themselves in the midst of all the hustle and bustle of the Friday after-work hustle and bustle. Sounds unspectacular at first, but in the concrete case it has a poetic power and bitter beauty that harmonizes perfectly with the gently descending melodies of verse and refrain as well as the quietly optimistic middle-eight. Timeless pop realism, because what Davies is observing from his window could have happened in 1967 or 2007, and maybe it is happening right now. A classic of 60s pop, recorded in just under ten hours at the time. Reached No. 2 in England and No. 7 in the German charts as a single.

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