(What's the Story) Morning Glory?, Promotion
While "Some Might Say", a number one hit, had been released in April, the single chosen to precede the album's release was "Roll with It", planned for release on 14 August, six weeks before the album was due to hit the shelves. This was an unorthodox method for the time, contrasting the standard industry procedure of releasing the lead single three weeks before its parent album. Blur's management had become worried that this would hinder the chances of the group's forthcoming "Country House" single reaching number one the following week. As a reaction, Food Records pushed the release of "Country House" back a week and thus started what became known as "The Battle of Britpop".


(What's the Story) Morning Glory?, Promotion
The event triggered an unprecedented amount of exposure for both bands in national newspapers and on television news bulletins, supposedly symbolising the battle between the middle class of the south and the working class of the north. In the midst of the battle a Guardian newspaper headline proclaimed "Working Class Heroes Lead Art School Trendies". In the event "Country House" outsold "Roll with It" by 54,000, and topped the singles chart for a fortnight. Overall singles sales that week were up by 41 percent. In 2005, John Harris reflected on the importance of the event in popularising Britpop; "(as) Blur's "Country House" raced Oasis' "Roll with It" to the top of the charts, just about every voice in the media felt compelled to express an opinion on the freshly inaugurated age of Britpop."


(What's the Story) Morning Glory?, Promotion
During a promotional interview in September, the month before the album was released, Noel spoke about the rivalry with Damon Albarn and Alex James from Blur, and was quoted in 17 September edition of The Observer saying he hoped "the pair of them would catch AIDS and die because I fucking hate them two." Although Noel recanted and said that AIDS is no laughing matter, the quote caused a storm of controversy, with Noel having to write a letter of apology; he later confessed that "my whole world came crashing down in on me then".


(What's the Story) Morning Glory?, Promotion
However, in an interview with The Guardian in 2005, Blur's guitarist Graham Coxon explained that he bore no malice towards Oasis. "At least they were outright about it. They weren't pretending to like us and then slagging us off, which is what we'd been used to. In that way, I quite appreciated them."


(What's the Story) Morning Glory?, Promotion
On 2 October 2018, to mark the 23rd anniversary of the album release, a new lyric video for the track "She's Electric", described as being "loaded with psychedelic imagery", was published on the band's YouTube VEVO channel.


(What's the Story) Morning Glory?, Release
(What's the Story) Morning Glory? was released on 2 October 1995. The album sold quickly; the Daily Express reported the day after release that central London HMV stores were selling copies of the album at a rate of two per minute. At the end of the first week of sales, the album had sold a record-breaking 345,000 copies, making it (at the time) the second-fastest-selling album in British history, behind Michael Jackson's Bad.


(What's the Story) Morning Glory?, Release
After initially entering the UK charts at number one, it hovered around the top three for the rest of the year before initiating a six-week stay at the top in mid January, followed by a further three weeks at number one in March. In total, the album did not leave the top three for an astonishing seven months. In addition, by the time of its one-year anniversary in October 1996 the album had remained in the top ten for all but one week, in which it charted at number eleven.


(What's the Story) Morning Glory?, Release
After the fourth single from the album, "Wonderwall", hit the top ten in several countries, including stays at number one in Australia and New Zealand and achieving a peak of number eight in the United States, the album began to enjoy prolonged international success. Eventually the album had a five-week run at the top of the Australian albums chart and an eight-week run at the top of the New Zealand albums chart before topping charts in Canada, Ireland, Sweden and Switzerland.


(What's the Story) Morning Glory?, Release
The album was also making significant waves in the US market, thanks in part to the success of the "Wonderwall" and "Champagne Supernova" singles on American modern rock radio. Both songs reached number one on the Modern Rock Tracks chart and stayed there for ten and five weeks respectively. By early 1996, What's the Story was selling 200,000 copies a week, eventually peaking at number four and being certified four times platinum by the end of the year for shipments of over four million units. "Wonderwall" also topped the Australian and New Zealand singles charts.


(What's the Story) Morning Glory?, Tour
The band embarked on what would become a 103 show world tour in support of the album over a period of several months in 1995 and 1996. The tour started on 22 June 1995 with a pre-Glastonbury festival warm-up gig at the 1,400 capacity Bath Pavilion, which featured the debut of new drummer Alan White and several new songs off the album, and ended on 4 December 1996 at the 11,800 capacity Mayo Civic Centre in Rochester, Minnesota, USA, and included concerts at Earls Court in November 1995 and Cardiff International Arena in March 1996. The tour had many disruptions and cancellations due to Noel twice walking out of the group, and Liam pulling out of a US leg.


(What's the Story) Morning Glory?, Tour
In September 1995, bass player Paul "Guigsy" McGuigan walked out on the group after he was subjected to a flurry of verbal abuse from Liam while doing interviews in Paris. McGuigan cited nervous exhaustion as the reason for his departure. Scott McLeod of The Ya-Yas was brought in as his replacement; though, despite playing a string of gigs with the band and appearing in the video for the "Wonderwall" single, McLeod was unable to adapt to the frenetic celebrity lifestyle, duly returning to Manchester halfway through an American promotional tour for the album.


(What's the Story) Morning Glory?, Tour
The band played a few dates, including an appearance on Late Show with David Letterman, as a four piece, before McGuigan was convinced to return for the group's Earls Court shows in early November. When the band broke up for a brief time in late 1996, several US tour dates and the entire Australia and New Zealand leg had to be cancelled.


(What's the Story) Morning Glory?, Tour
As the band began to reach the peak of their popularity, several large open-air concerts were organized in the UK during 1996, including two gigs at Manchester City football stadium Maine Road, two nights at Loch Lomond in Scotland, and two nights at Knebworth House in front of a record 125,000 people each night; an event that would come to be acknowledged as the height of the Britpop phenomenon, with one journalist commenting; "(Knebworth) could be seen as the last great Britpop performance; nothing after would match its scale."


(What's the Story) Morning Glory?, Tour
At the time, the concerts were the biggest gigs ever held for a single band on UK soil, and to date remain the largest demand ever for a British concert; with reportedly over 2.5 million applications for tickets. The Earl's Court and Maine Road gigs were filmed and later released as the Oasis VHS/DVD ... There and Then.


(What's the Story) Morning Glory?, Reception
(What's the Story) Morning Glory? was released to lukewarm reviews from the mainstream music press. Many contemporary reviewers expressed disappointment at the album's perceived inferiority to Definitely Maybe, taking aim at the "banal lyrics" and the unoriginal nature of the compositions. David Cavanagh of Q magazine said of the lyrics: "They scan; they fill a hole; end of story. They [say] nothing much about anything." Andy Gill of The Independent commented that "She's Electric" is "laddism of a tiresomely generic kind", while "Roll with It" is "drab and chummy".


(What's the Story) Morning Glory?, Reception
In Spin, Chuck Eddy wrote that the band had eschewed the "Bowie glitter" of their debut for "generic classic rock", while Chicago Tribune critic Greg Kot felt that they lacked a distinguishing "attitude" despite being "modestly tuneful". Perhaps the most damning review came from David Stubbs of the now-defunct Melody Maker. Despite stating that "Some Might Say" was "the best single of the year", Stubbs went on to be critical of the album as a whole; "What's the Story [sounds] laboured and lazy. On this evidence, Oasis are a limited band ... they sound knackered."


(What's the Story) Morning Glory?, Reception
NME was more enthusiastic, with the magazine's John Robinson writing that the album shows Oasis pursuing "an altogether different direction; away from the conscience-free overloaded hedonism towards an understanding of its consequences". Rolling Stone's Jon Wiederhorn wrote that "What's the Story is more than a natural progression, it's a bold leap forward that displays significant musical and personal growth."


(What's the Story) Morning Glory?, Reception
He went on to note that the "stormy" relationship between Liam and Noel proved to be one of the album's strengths; "tension and instability have been inherent traits of great rock teams ... for Oasis, the addition of shared genes gives their songs extra impact and dimension." Los Angeles Times critic Robert Hilburn welcomed the album as a counterpoint to the prevailing "despair" of the decade's rock music. The album finished 10th in the voting for The Village Voice's annual Pazz & Jop critics' poll.


(What's the Story) Morning Glory?, Reception
The poll's curator Robert Christgau initially assessed it as "phony Beatlemania"; he later gave it a two-star honourable mention, indicating a "likable effort that consumers attuned to its overriding aesthetic or individual vision may well enjoy", and quipped "give them credit for wanting it all—and (yet another Beatles connection!) playing guitars". Select ranked the album at number two on its end-of-year list of the 50 best albums of 1995.


(What's the Story) Morning Glory?, Reception
In his book Britpop!, John Harris concluded that the initial negative reviews of the time missed the album's universal strengths. "Those who fussed about the music's more artful aspects were missing the point. The fact that [Noel's] songs contained so many musical echoes seemed to couch the album in an air of homely reassurance." Harris believed that the "ordinary" nature of some of the album's songs "turned out to be part of its deeply populist appeal".


(What's the Story) Morning Glory?, Legacy
(What's the Story) Morning Glory? is considered an important record of the Britpop era and one of the best albums of the nineties, and it appears in several charts as one of the greatest albums of all time. Rob Sheffield, writing in The Rolling Stone Album Guide (2004), called the album "a triumph, full of bluster and bravado but also moments of surprising tenderness", adding that it "capped a true golden age for Britpop". Rolling Stone ranked the album at 378 on its 2012 list of "The 500 Greatest Albums of All Time" and at 157 on its 2020 list.


(What's the Story) Morning Glory?, Legacy
Spin included it at 79 in their list of "The 300 Best Albums of 1985–2014". The album's enduring popularity within the UK was reflected when it won the British Album of 30 Years award at the 2010 Brit Awards. The award was voted by the public to decide the greatest Album of the Year winner in the history of the Brit Awards. The album was also included in the book 1001 Albums You Must Hear Before You Die. It was voted number 21 in Colin Larkin's All Time Top 1000 Albums.


(What's the Story) Morning Glory?, Legacy
What's the Story went on to become the best-selling album of the decade in the UK, with its sixteen platinum certifications from the British Phonographic Industry. It was also certified four times platinum by the Recording Industry Association of America. The sixteen platinum certifications in the UK were the highest ever awarded to a single record until Adele's 21, released in 2011. The success of the album resulted in Oasis becoming one of the biggest bands in the world, with substantial and considerable press coverage in the mainstream music press and frequent comparisons to the Beatles in the media. Liam and Noel Gallagher both featured prominently in gossip columns and daily tabloids throughout 1996–97.


(What's the Story) Morning Glory?, Legacy
What's the Story propelled Oasis from being a crossover indie act to a worldwide rock phenomenon after the momentum gained by the critically acclaimed Definitely Maybe. It has been pinpointed by music critics as a significant record in the timeline of British indie music, demonstrating just how far into the mainstream independent music had ventured. In 2005, John Harris noted the significance of the album and "Wonderwall" in particular to Britpop's legacy. "When (Oasis) released Wonderwall, the rules of British music were decisively changed. From hereon in, the lighter-than-air ballad became obligatory, and the leather-trousers era of rock'n'roll was over." The success of the album in Britain resulted in Oasis becoming a cultural ubiquity for a brief period, featuring in tabloid newspapers on an almost daily basis and breaking sales records for live concerts.


(What's the Story) Morning Glory?, Track listing, Original release
All tracks are written by Noel Gallagher, except where noted.


(What's the Story) Morning Glory?, Track listing, Singles box set
The (What's the Story) Morning Glory? box set was released on 4 November 1996, featuring four discs of singles, including B-sides, and one disc of interviews. The album charted at number 24 on the UK Albums Chart.


(What's the Story) Morning Glory?, Track listing, Singles box set
All songs written by Noel Gallagher, except "Cum on Feel the Noize" by Noddy Holder and Jim Lea; "Step Out" co-written by Stevie Wonder, Henry Cosby and Sylvia Moy.


(What's the Story) Morning Glory?, Track listing, 2014 reissue
As part of a promotional campaign entitled Chasing the Sun, the album was re-released on 29 September 2014. The 3-disc deluxe edition includes remastered versions of the album and its associated b-sides from the four UK singles. Bonus content includes 5 demo tracks, and live choices taken from the band's iconic gigs at Earls Court, Knebworth Park and Maine Road.


(What's the Story) Morning Glory?, Track listing, 2014 reissue
All tracks are written by Noel Gallagher, except where noted.


(What's the Story) Morning Glory?, Certifications
* Sales figures based on certification alone.^ Shipments figures based on certification alone. Sales+streaming figures based on certification alone.


(What's the Story) Morning Glory? Tour
(What's the Story) Morning Glory? Tour was a world concert tour by English band Oasis in support of their hugely successful second album (What's the Story) Morning Glory?. The tour, which spanned the UK, Europe, the US and Canada, included 103 shows over a period of several months in 1995 and 1996 amidst twelve different tour legs and several cancelled legs in the US and Australia/New Zealand.


(What's the Story) Morning Glory? Tour
The tour started on 22 June 1995 with a pre-Glastonbury festival warm up gig at the Bath Pavilion which featured the debut of new drummer Alan White and several new songs off the album which wasn't to be officially released until early October, and ended on 10 September 1996 at the Nissan Pavilion in Bristow, Virginia, when the band decided to halt touring to focus on the recording of their anticipated third album, Be Here Now.


(What's the Story) Morning Glory? Tour
The tour is notable for its UK summer leg of 1996 which consisted of several open-air concerts to record crowds. The tour included such venues as Maine Road in Manchester, Loch Lomond in Scotland, Páirc Uí Chaoimh in Ireland and Knebworth Park in England in which the band played to 250,000 people over two nights. Unprecedented for an open-air concert in the UK at the time, the gig also holds the record for the largest ever ticket demand in history with nearly three million (1 in 20 people) ticket applications.


(What's the Story) Morning Glory? Tour
Whilst the tour was taking place, (What's the Story) Morning Glory? had become a worldwide success and Oasis became one of the biggest bands of the era. The Gallagher brothers regularly made tabloid headlines for their frequent fallouts and rockstar lifestyles. The tour had many disruptions and cancellations due to Noel twice walking out of the group, and Liam pulling out of a US leg. When the band broke up for a brief time in late 1996, several US tour dates and the entire Australia and New Zealand leg had to be cancelled.


(What's the Story) Morning Glory? Tour
On one such occasion, Oasis were due to perform on MTV Unplugged at the Royal Festival Hall in London when Liam pulled out minutes before the group were to take to the stage; citing a sore throat as to why he could not perform. Noel had to take over lead vocals for the entire performance whilst Liam heckled him from a balcony in the crowd. The band later found out that Liam did not like performing acoustically.


(What's the Story) Morning Glory? Tour
Nevertheless, the tour had escalated Oasis from being one of the biggest bands in Britain to being one of the biggest bands in the world; resulting in a media frenzy and unprecedented anticipation for the group's third album.


(What's the Story) Morning Glory? Tour
The Earl's Court and Maine Road gigs were filmed and later released as the Oasis VHS/DVD ... There and Then.


(When You Fall in Love) Everything's a Waltz
"(When You Fall in Love) Everything's a Waltz" is a song co-written and recorded by American country music artist Ed Bruce. It was released in July 1981 as the second single from the album One to One. The song reached number 14 on the Billboard Hot Country Singles & Tracks chart. Bruce wrote the song with his wife Patsy and Ron Peterson.


(When You Feel Like You're in Love) Don't Just Stand There
"(When You Feel Like You're in Love) Don't Just Stand There" is a song written by Tacoma, Washington country/western artist Cherokee Jack Henley, as revised by Ernest Tubb. The best known recording is the 1952 single by Carl Smith. The single was Carl Smith's second number one on the Country & Western Best Seller charts, staying at the top for five weeks with a total of twenty-four weeks on the chart.


(When You Gonna) Give It Up to Me
"(When You Gonna) Give It Up to Me" (known as "Give It Up to Me" in its solo version) is a reggae–dancehall song written by Sean Paul for his third album The Trinity (2005). The single meant to be released after "Temperature" was "Breakout", but was switched to "Give It Up To Me" to promote the film Step Up (2006). It is the fourth U.S. single taken from the album and the fifth UK single.


(When You Gonna) Give It Up to Me
It was a split single with "Never Gonna Be the Same", which was released outside the North America in June 2006 but it was finally released worldwide in October 2006. The version released as a single (the one called "(When You Gonna) Give It Up to Me", in order to differ from the album version) was a collaboration with Keyshia Cole and the song was a single from the Step Up film soundtrack. Despite The Trinity being re-released just before the single release, the version with Keyshia Cole did not make the album, despite a "radio version" being added.


(When You Gonna) Give It Up to Me
The single climbed as high as number three on the Billboard Hot 100 chart upon its release in the U.S. in the summer of 2006. This became Sean Paul's 6th Top 10 hit and 1st Top 10 hit for Keyshia Cole.


(When You Gonna) Give It Up to Me
On 30 October 2006, the song was officially released as a single in the UK.


(When You Gonna) Give It Up to Me, Music video
The video was directed by Little X and filmed in a gym, which the director describes as "fun and exciting." Sean Paul and Keyshia Cole dance throughout the video, usually separate, and with their own dancers. Around the middle of the video, the three stars of the new dance film, Step Up, Channing Tatum, Jenna Dewan, Drew Sidora appear. Jon Cruz and Rufino Puno of Super Cr3w, from America's Best Dance Crew (Season 2) can be seen late in the video breakdancing.


(When You Gonna) Give It Up to Me, Certifications
* Sales figures based on certification alone. Sales+streaming figures based on certification alone.


(Where Do I Begin?) Love Story
"(Where Do I Begin?) Love Story" is a popular song published in 1970, with music by Francis Lai and lyrics by Carl Sigman. The song was first introduced as an instrumental theme in the 1970 film Love Story after the film's distributor, Paramount Pictures, rejected the first set of lyrics that were written. Andy Williams eventually recorded the new lyrics and took the song to number nine on Billboard magazine's Hot 100 and number one on their Easy Listening chart.


(Where Do I Begin?) Love Story, History
The score for Love Story was written by Francis Lai, and the company that published the music for Paramount felt that the track heard over the opening and closing credits, which was titled "Theme from Love Story", needed lyrics. Michael Sigman, son of lyricist Carl Sigman, recalled that his father was asked to provide the words and received "a synopsis of the script and the lead sheet of the music. The story was schmaltzy, but the music inspired words that expressed the sadness beneath the schmaltz."


(Where Do I Begin?) Love Story, History
The initial set of lyrics his father wrote mirrored the storyline of the film from the perspective of the male protagonist, who describes a woman who enters his life ("So Jenny came") and then "suddenly was gone." Paramount executive Robert Evans "thought the lyric was a 'downer.' Further, he couldn't abide the phrase 'Jenny came,' believing it too sexually suggestive for a mainstream audience. He demanded a rewrite," and this upset Carl. "At first, justifiably proud of the fine lyric he crafted, he was angry and felt like refusing to do a rewrite. But the next day he cooled off and, pacing around his living room, said to his wife, 'Where do I begin?' and the new lyric was launched."


(Where Do I Begin?) Love Story, History
Before the film opened in theaters on December 25, 1970, the recording of "Theme from Love Story" by Henry Mancini was released as a single and made its debut on Billboard's Easy Listening chart in the issue of the magazine dated December 19. Two versions of "(Where Do I Begin?) Love Story"—one by Williams and one by Tony Bennett—were released on January 15, 1971, and an article in the magazine's January 23 issue tried to explain the gap between releases of the instrumental and vocal versions as intentional.


(Where Do I Begin?) Love Story, History
The logic behind the decision was that "only the instrumental version should hit the market before the picture's release, and that the vocal version should be held up until several weeks after the film's release so that 'the theme and the image of Love Story would be implanted in the audience's mind.'"


(Where Do I Begin?) Love Story, Chart success
The Mancini version spent two of its 16 weeks on the Easy Listening chart at number two and also began a run of 11 weeks on the Billboard Hot 100 in the January 16 issue, during which time it got as high as number 13. The track that Francis Lai and his orchestra recorded for the film first charted on the Hot 100 in the January 31 issue and made it to number 31 over the course of nine weeks. It also reached number 21 on the Easy Listening chart during its five weeks there that began in the February 6 issue.


(Where Do I Begin?) Love Story, Chart success
The Williams version of "(Where Do I Begin?) Love Story" also debuted in the February 6 issue on both the Hot 100 and Easy Listening charts, while the Bennett version only managed to "bubble under" the Hot 100 for five weeks that began in the February 13 issue and eked out a peak position at number 114. Williams reached number nine on the Hot 100 during a 13-week stay and enjoyed four of his 15 weeks on the Easy Listening chart at number one. Roy Clark entered the Country singles chart with his rendition six weeks later, on March 27, and made it to number 74 during his two weeks there. (The flip side of Clark's single was his guitar rendition of the "Theme from Love Story"that also appeared on his 1973 album Superpicker.)


(Where Do I Begin?) Love Story, Chart success
In the UK Williams began a run of 18 weeks on March 20 of that year that led to a number four showing. His competition on the UK singles chart came from Shirley Bassey, who debuted her rendition of the song on March 27 and made it to number 34 during her nine weeks there.


(Where Do I Begin?) Love Story, Chart success
A pop version of "(Where Do I Begin?) Love Story" by Nino Tempo & April Stevens went by the title "Love Story" and "bubbled under" the Hot 100 to number 113 during its three weeks on the chart in December 1972.


(Where Do I Begin?) Love Story, Notable cover versions
The song has been covered by many artists, including as an instrumental theme. The most notable are the versions by Andy Williams and Tony Bennett. In his AllMusic review of the 1971 Johnny Mathis album Love Story, Joe Viglione wrote, "His rendition of '(Where Do I Begin) Love Story' is riveting, a sweeping and majestic piece to lead off the record, and not the usual Jack Gold musical movement, but more pronounced and determined."


(Where Do I Begin?) Love Story, Other cover versions
In 2005, Rick Astley released a cover version for his 6th studio album Portrait.


(White Man) In Hammersmith Palais
"(White Man) In Hammersmith Palais" is a song by the English punk rock band the Clash. It was originally released as a 7-inch single, with the b-side "The Prisoner", on 16 June 1978 through CBS Records.


(White Man) In Hammersmith Palais
Produced by The Clash and engineered by Simon Humphries, the song was recorded for (but not included on) the group's second studio album Give 'Em Enough Rope; it was later featured on the American version of their debut studio album The Clash between the single version of "White Riot" and "London's Burning".


(White Man) In Hammersmith Palais, Inspiration and composition
The song showed considerable musical and lyrical maturity for the band at the time. Compared with their other early singles, it is stylistically more in line with their version of Junior Murvin's "Police and Thieves" as the powerful guitar intro of "(White Man) In Hammersmith Palais" descends into a slower ska rhythm, and was disorienting to a lot of the fans who had grown used to their earlier work. "We were a big fat riff group", Joe Strummer noted in the Clash's film Westway to the World. "We weren't supposed to do something like that."


(White Man) In Hammersmith Palais, Inspiration and composition
"(White Man) In Hammersmith Palais" starts by recounting an all-night reggae "showcase" night at the Hammersmith Palais in Shepherd's Bush Road, London, that was attended by Joe Strummer, Don Letts and roadie Roadent, and was headlined by Dillinger, Leroy Smart and Delroy Wilson. Strummer was disappointed and disillusioned that these performances had been more "pop" and "lightweight" similar to Ken Boothe's brand of reggae, using Four Tops-like dance routines, and that the acts had been "performances" rather than the "roots rock rebel[lion]" that he had been hoping for.


(White Man) In Hammersmith Palais, Inspiration and composition
The song then moves away from the disappointing concert to address various other themes, nearly all relating to the state of the United Kingdom at the time. The song first gives an anti-violence message, then addresses the state of "wealth distribution" in the UK, promotes unity between black and white youths of the country before moving on to address the state of the British punk rock scene in 1978 which was becoming more mainstream.


(White Man) In Hammersmith Palais, Inspiration and composition
Included is a jibe at unnamed groups who wear Burton suits. In an NME article at the time, Strummer said this was targeted at the power pop fad hyped by journalists as the next big thing in 1978. The lyric concludes that the new groups are in it only for money and fame.


(White Man) In Hammersmith Palais, Inspiration and composition
The final lines refer to right wing politics, noting sardonically that things were getting to the point where even Adolf Hitler could expect to be sent a limousine if he “flew in today”.


(White Man) In Hammersmith Palais, Inspiration and composition
The single was issued in June 1978 with four different colour sleeves – blue, green, yellow and pink.


(White Man) In Hammersmith Palais, Inspiration and composition
This song was one of Joe Strummer's favourites. He continued to play it live with his new band The Mescaleros and it was played at his funeral.


(White Man) In Hammersmith Palais, Inspiration and composition
The song is used in the 2017 film T2 Trainspotting.


(White Man) In Hammersmith Palais, Inspiration and composition, Rhyme scheme
The rhyme scheme is not consistent throughout. In order by verse, it is as follows (along with line-end words):


(White Man) In Hammersmith Palais, Critical reception
"(White Man) In Hammersmith Palais" helped the Clash assert themselves as a more versatile band musically and politically than many of their peers, and it broke the exciting but limiting punk mould that had been established by the Sex Pistols; from now on the Clash would be "the thinking man's yobs".


(White Man) In Hammersmith Palais, Critical reception
Robert Christgau recommended the single in his Consumer Guide published by The Village Voice on 4 September 1978, and described the song as "a must". Denise Sullivan of AllMusic wrote that "(White Man) In Hammersmith Palais" "may have actually been the first song to merge punk and reggae." Consequence of Sound described it as "one of Strummer’s greatest lyrical compositions".


(White Man) In Hammersmith Palais, Critical reception
The song was ranked at No. 8 among the top "Tracks of the Year" for 1978 by NME. In 2004, Rolling Stone rated the song as No. 430 in its list of the 500 Greatest Songs of All Time. In December 2003, the British music magazine Uncut ranked the song No. 1 on their "The Clash's 30 best songs" list.


(White Man) In Hammersmith Palais, Critical reception
The list was chosen by a panel including former band members Terry Chimes, Mick Jones, and Paul Simonon In 2015, the Guardian ranked it No. 2 on Dave Simpson's "The Clash: 10 of the best" list, and in 2020 it appeared in the number one position in Simpson's list of "The Clash's 40 greatest songs – ranked!" Stereogum ranked it No. 4 on their "The 10 Best Clash Songs" list.


(White Man) In Hammersmith Palais, Cover versions
Fighting Gravity covered the song on their 1999 live double album Hello Cleveland. In that same year, 311 contributed their rendition of the song to the charity album Burning London: The Clash Tribute.


(Who Says) You Can't Have It All
"(Who Says) You Can't Have It All" is a song co-written and recorded by American country music artist Alan Jackson. It was released in January 1994 as the fifth and final single from his album A Lot About Livin' (And a Little 'bout Love). The song peaked at number 4 on the U.S. Billboard Hot Country Singles chart and number 11 on the Canadian RPM Country Tracks chart. Jackson wrote the song with Jim McBride.


(Who Says) You Can't Have It All, Content
The song is about a man who lost his woman. The narrator tells of the lonely scene of his bedroom alone. "A stark naked light bulb hangs over my head, There's one lonely pillow on my double bed." According to Jackson, it's one of his favorite songs he's written.


(Who Says) You Can't Have It All, Critical reception
Deborah Evans Price, of Billboard magazine reviewed the song favorably, calling it a "heartbreak, pure country waltz" and saying that nobody does this type of song better than Jackson. Kevin John Coyne of Country Universe gave the song an A grade, calling it a "pure country song" due to the fiddle.


(Who Says) You Can't Have It All, Critical reception
He goes on to say that Jackson's "equally forlorn voice singing the opening lyrics, 'A stark naked light bulb hangs over my head, there's one lonely pillow on my double bed', serves as confirmation that we're in for 3 minutes and 30 seconds of a deliciously straight-up country weeper that turns out to be one of Jackson's most satisfying singles yet.


(Who Says) You Can't Have It All, Music video
The music video was directed by Piers Plowden and premiered in early 1994.


(Who Says) You Can't Have It All, Chart positions
"(Who Says)" You Can't Have It All" debuted at number 43 on the  U.S. Billboard Hot Country Singles & Tracks for the week of January 29, 1994.


(Why Are We) Trapped?
"(Why Are We) Trapped?" is a song by avant-garde band King Missile. It was the second single from the band's 1992 album Happy Hour.


(Why Are We) Trapped?, Content
In "(Why Are We) Trapped?," a psychedelic rock track with prominent lead guitar, frontman John S. Hall sings variants of the question, "Why are we trapped here in the dark so long?" to an unidentified captor. In the chorus, he insists, "We've done everything you told us to do," and demands, "Let us out."


(Why Are We) Trapped?, Music video
The video for the edited version of "(Why Are We) Trapped?" was directed by George Seminara. In the video, the band plays while "trapped" in a dark, gloomy pit.


(Why Did I Tell You I Was Going To) Shanghai
"(Why Did I Tell You I Was Going To) Shanghai" is a popular song written by Bob Hilliard (lyricist) and Milton De Lugg (composer).


(Why Did I Tell You I Was Going To) Shanghai, Recordings
It was recorded by Doris Day in 1951 and was a big hit for her. Other charting versions were recorded by Bing Crosby and by the Billy Williams Quartet.


(Why Did I Tell You I Was Going To) Shanghai, Recordings
The recording by Doris Day was released by Columbia Records as catalog number 39423, with the flip side "My Life's Desire". It first reached the Billboard chart on June 22, 1951, and lasted 17 weeks on the chart, peaking at number 9.


(Why Did I Tell You I Was Going To) Shanghai, Recordings
Bing Crosby's version was recorded for Decca Records on June 8, 1951 with Dave Barbour and his Orchestra and it charted briefly in the Billboard listings at number 21 on September 8, 1951.


(Why Did I Tell You I Was Going To) Shanghai, Recordings
A recording by the Billy Williams Quartet was released by MGM Records as catalog number 10998, with the flip side, "The Wondrous Word". It first reached the Billboard chart on August 10, 1951, and lasted six weeks on the chart, peaking at number 20.


(Wish I Could Fly Like) Superman
"(Wish I Could Fly Like) Superman" is a song written by Ray Davies that was first released on the Kinks' 1979 album, Low Budget. The song, inspired by Superman: The Movie, employs a disco beat and lyrics that describe the singer's wish to be like the fictional character Superman. The song's disco style was created as a response to Arista Records founder Clive Davis's request for "a club-friendly record," despite Ray Davies' hatred of disco.


(Wish I Could Fly Like) Superman
The song was released as the lead single from Low Budget, becoming a moderate hit in North America. It has since appeared on numerous compilation and live albums.


(Wish I Could Fly Like) Superman, Background
"(Wish I Could Fly Like) Superman" was inspired by Ray Davies watching Superman: The Movie in late 1978. Ray Davies has said that the song was written as a joke in response to a request by music producer Clive Davis, who was then running Arista Records, for a record to appeal to clubs. Davies said of this: "It was kind of a joke, taking the piss out of Clive [Davis] wanting us to do a club-friendly record."


(Wish I Could Fly Like) Superman, Background
"(Wish I Could Fly Like) Superman", as well as its B-side, "Low Budget", were the first songs recorded for the Low Budget album, although, unlike the rest of the album which was recorded in New York, the tracks were cut in Konk Studios. The band's recently hired studio engineer, John Rollo, said of the sessions for the two songs, "The album before [Low Budget, Misfits] was beautifully recorded, but not that rock and roll. I think the first two songs [I did] went extremely well and the band wanted to spend some time in New York, to get away from distractions and kept it as a raw band recording."


(Wish I Could Fly Like) Superman, Background
Dave Davies, initially unimpressed with the song, added guitar parts. Dave Davies also said of the song's release, "I think that one ['Superman'] was, not the biggest mistake, but it could've been one of the biggest mistakes we made. I remember I had quite a difficult time with Ray while we were making the record, because I didn't like the direction it was going. It was a strange time for music in general, anyway. The fact that it's funny, that it was a humorous song, saved it. I don't feel bad about that song at all, but it could have been a big mistake."


(Wish I Could Fly Like) Superman, Lyrics and music
The song also invokes another movie from the era, Saturday Night Fever, and the 1960s Animals hit "We Got to Get Out of This Place." The lyrics describe an average person dreaming of being Superman in order to get through social issues. The lyrics combine "fantasy" and "mundanity," two of Davies' favorite themes. Author Thomas Kitts notes the irony in the lyrics sung by a weakling wishing he were Superman which, as with other songs Davies wrote, leads to the singer feeling resigned. Author Nick Hasted makes a similar point, that despite dreaming of being Superman, the singer remains Clark Kent and can't get over his fear of the bad news he keeps hearing. According to Allmusic critic Richard Gilliam, its lyrics are among "Ray Davies' most sharp-edged."


(Wish I Could Fly Like) Superman, Lyrics and music
"(Wish I Could Fly Like) Superman" has a disco-like sound, though a hard rock version is sometimes performed in concert. The song features a four on the floor drum part as well as a prominent guitar riff played by Dave Davies. Critic Johnny Rogan describes the lyrics as "witty" and the music as "upbeat." Music critic Robert Christgau describes it as a "fusion of syndrum and macho-flash guitar."


(Wish I Could Fly Like) Superman, Release and reception
"(Wish I Could Fly Like) Superman", backed with "Low Budget", was released as the lead single from Low Budget. Although it was a chart failure in Europe, the song found moderate success in North America, reaching number 41 on the American Billboard charts and number 43 on the Canadian RPM charts.


(Wish I Could Fly Like) Superman, Release and reception
Charles Aaron of Spin attributed this success to the national sentiment in the United States at the time, saying, "'Superman' caught a mood — frankly, a lot of people felt like shit at the time, and Davies' wit was more broadly accessible than on some of his earlier, conceptual set pieces". Although multiple follow-up singles were issued, "(Wish I Could Fly Like) Superman" is the only single from the album to be released in both Britain and America.


(Wish I Could Fly Like) Superman, Release and reception
In addition to its appearance on Low Budget, the song is present on many of the band's compilation albums, including Come Dancing with The Kinks and The Ultimate Collection.


(Wish I Could Fly Like) Superman, Release and reception
Billboard Magazine rated it one of the top tracks from Low Budget. It described the song as a "strong pop and rock offering with outstanding vocals and instrumentation and biting lyrics. Producer Clive Davis described the song as tapping "the malaise at the tail end of the decade." In its review of the single, Trouser Press praised the band for "tackl[ing] disco and com[ing] away with more than a shred of dignity."


(Wish I Could Fly Like) Superman, Alternate versions
During the recording of Low Budget, many alternate versions of "(Wish I Could Fly Like) Superman" were created, including an approximately six-minute long extended edit that appeared on a 12-inch single in America and Britain. Studio engineer John Rollo said of the many versions: "On 'Superman' we must have mixed that song at Konk [studios] twenty times - and it was quite a long song - and to get it down for a 7-inch single version we had to do twenty edits. Then we were running out of days and [Ray] had to be out of the country. Clive Davis was always known as a totalitarian hands-on guy but Ray was having none of that, he was going to make the album he wanted."


(Wish I Could Fly Like) Superman, Alternate versions
It also appeared in live form on the album One for the Road. Allmusic critic Bret Adams called this live version a "raw, stripped-down" rendition.


(Wish I Had A) Heart of Stone
"(Wish I Had A) Heart of Stone" is a song written by Richard Leigh and Wayland Holyfield, and recorded by American country music group Baillie & the Boys. It was released in July 1989 as the third single from the album Turn the Tide. The song reached #4 on the Billboard Hot Country Singles & Tracks chart.


(Without You) What Do I Do with Me
"(Without You) What Do I Do with Me" is a song written by L. David Lewis, David Chamberlain and Royce Porter, and recorded by American country music artist Tanya Tucker. It was released in October 1991 as the second single and title track from the album What Do I Do with Me. The song reached #2 on the Billboard Hot Country Singles & Tracks chart, behind Collin Raye's "Love, Me".


(Won't You Come Home) Bill Bailey
"(Won't You Come Home) Bill Bailey", originally titled "Bill Bailey, Won't You Please.... Come Home?" is a popular song published in 1902. It is commonly referred to as simply "Bill Bailey".


(Won't You Come Home) Bill Bailey
Its words and music were written by Hughie Cannon, an American songwriter and pianist, and published by Howley, Haviland and Dresser. It is still a standard with Dixieland and traditional jazz bands. The simple 32-bar chord sequence of its chorus also underpins many other tunes played mainly by jazz bands, such as "Over the Waves", "Washington and Lee Swing", "Bourbon Street Parade", "My Little Girl", and the final themes of "Tiger Rag" and "The Beer Barrel Polka".


(Won't You Come Home) Bill Bailey, Origin
Cannon wrote the song in 1902 when he was working as a bar pianist at Conrad Deidrich’s Saloon in Jackson, Michigan. Willard "Bill" Bailey was a regular customer and friend, and one night told Cannon about his marriage to Sarah (née Siegrist). Cannon "was inspired to rattle off a ditty about Bailey’s irregular hours. Bailey thought the song was a scream [i.e. very good], and he brought home a dashed-off copy of the song to show Sarah. Sarah couldn’t see the humor.... [ but] accepted without comment the picture it drew of her as a wife." Cannon sold all rights to the song to a New York publisher, and died from cirrhosis aged 35. Willard and Sarah Bailey later divorced; he died in 1954, and she died in 1976 aged about 102. (See New York Times archives 1976, unknown date)


(Won't You Come Home) Bill Bailey, Parodies
Parodist Allan Sherman recorded a parody of this song on his 1963 album My Son, the Celebrity, entitled "Won't You Come Home Disraeli?"


(Won't You Come Home) Bill Bailey, Parodies
In the "Miss Solar System" episode of The Jetsons, first aired February 3, 1963, Jane belts out "Won't You Fly Home Bill Spacely" in Hanna-Barbera's own parody of the song. Hanna-Barbera (with Cartoon Network Studios) makes more frequent use of the song throughout its Johnny Bravo cartoon series.


(Won't You Come Home) Bill Bailey, Parodies
In The Simpsons episode "Whacking Day", Grampa Simpson is seen posing as a female cabaret singer in Nazi Germany, singing a version of this song – with "Franz Brauder" replacing "Bill Bailey" – to Adolf Hitler.


(Won't You Come Home) Bill Bailey, Parodies
The 1980 Smurfs album, Smurfing Sing Song, includes a version of this song entitled "Smurf Baby", in which the chorus is repeated with the name "Bill Bailey" replaced with "Smurf Baby".


(Won't You Come Home) Bill Bailey, Parodies
Sandler & Young recorded a 20-minute medley where Bill Bailey is adapted to England, France, Switzerland, Nashville, Italian opera, Bach, Israel (with Jewish jokes), and climaxing with the United States.


(Won't You Come Home) Bill Bailey, Parodies
The Capitol Steps performed a version referring to the 2000 Democratic Presidential Primary titled "Won't You Go Home Bill Bradley".


(Won't You Come Home) Bill Bailey, Parodies
In P.G. Wodehouse's 1906 novel Love Among the Chickens, the narrator feeling sorry for himself blames his problems on his historical version of womanhood: "Oh woman, woman! At the bottom of everything! History is full of tragedies caused by the lethal sex. Who lost Mark Antony the world? A woman. Who let Samson in so atrociously? Woman again. Why did Bill Bailey leave home? Once more, because of a woman."


(You Bring Out) The Wild Side of Me
"(You Bring Out) The Wild Side of Me" is a song written and recorded by American country music artist Dan Seals. It was released in June 1984 as the first single from his album San Antone. It peaked at #9 in mid-1984, thus becoming his second top ten hit.


(You Can Still) Rock in America
"(You Can Still) Rock in America" is a song written by Jack Blades and Brad Gillis, and the first single released from Night Ranger's 1983 album Midnight Madness. Former Deep Purple and Black Sabbath singer Glenn Hughes contribute backing vocals on the song.


(You Can Still) Rock in America, Background
Night Ranger were on tour in Springfield, Illinois with Sammy Hagar in 1983. Singer Jack Blades bought several music magazines in town on his day off, many of which proclaimed "rock is dead" in favor of new wave artists like Thompson Twins or The Cure. Blades refused to believe it, as his band and Sammy Hagar had played so many concerts on their tour with thousands of screaming fans who seemed to think rock and roll was still very much alive.


(You Can Still) Rock in America, Background
He came up with the chorus first, and then wrote some verses based on what fans would tell him about the lengths they went to to attend rock concerts. "So I just took this one girl's idea of what she was telling me, and I wrote that as a commentary on what I was seeing out there when everybody was saying rock was dead. And that ended up being sort of an anthem for Night Ranger, for sure," said Blades.


(You Can Still) Rock in America, In popular culture
A re-recording of the song is downloadable content for Rock Band 2 and is a playable track on Guitar Hero: Warriors of Rock.


(You Can Still) Rock in America, In popular culture
"(You Can Still) Rock in America" was the opening credits theme song for the television series Rock 'N' America.


(You Can Still) Rock in America, In popular culture
A snippet plays during the series finale of The Drew Carey Show.


(You Can't Let the Boy Overpower) The Man in You
"(You Can't Let the Boy Overpower) The Man in You" is a 1964 R&B song by the Miracles on Motown Records' Tamla subsidiary label. It was written by Miracles lead singer Bill "Smokey" Robinson, and was produced by Robinson and Motown president/founder Berry Gordy Jr.. One of several gospel-styled call and response tunes the group issued in 1964, this song reached number 59 on the Billboard Pop chart, and the top 20 of the Cash Box R&B chart, peaking at number 12. (Billboard had temporarily suspended its R&B chart during this time.) The song was recorded on August 17, 1963, and was the group's first single release of 1964.


(You Can't Let the Boy Overpower) The Man in You
After the million-selling success of their hit "Shop Around", Smokey and the other Miracles (Bobby Rogers, wife Claudette Robinson, Pete Moore, Ronnie White, and Marv Tarplin) recorded several tunes between 1961 and 1964, with the main theme centering on "parental advice". In this song, it is the father who is giving pearls of wisdom, advising Smokey, as the song's narrator, about the importance of "being a man", being loyal, and treating your wife or girlfriend right, despite the fact that every man has "a boy in his heart" that would lead him to do otherwise. "(You Can't Let the Boy Overpower) The Man in You'.


(You Can't Let the Boy Overpower) The Man in You
This song was not one of the group's more successful singles, and did not appear on any original Miracles studio album, not even making the group's first greatest hits album, The Miracles' Greatest Hits from the Beginning, but, since then, has appeared on several Miracles "Greatest Hits" CD compilations, including the group's 4-CD 35th Anniversary Collection, and has spawned a cover version by Chuck Jackson. The song's "B" side was the popular "Heartbreak Road".


(You Can) Depend on Me
"(You Can) Depend on Me" (TAMLA 54028), was a 1959 song by Motown Records group The Miracles, which also appeared on the group's first album, Hi... We're The Miracles (released in 1961). It also appeared as the "B" side of the group's hit single, Way Over There. It was written by Motown Records' President and founder Berry Gordy and Miracles member William "Smokey" Robinson.


(You Can) Depend on Me
While not charting nationally, this song was a very popular regional hit tune in many areas of the country, so much so, in fact, that it was included on the group's first greatest hits album, Greatest Hits from the Beginning, and Smokey still sings it, by request, in his live shows today.


(You Can) Depend on Me
A  slow, intimate ballad number, with relatively sparse orchestration compared to much of their later work, "Depend On Me" starts with the singular guitar of Miracles member Marv Tarplin. Recorded in the popular Doo-Wop style, Miracles lead singer Smokey Robinson, as the song's narrator, then takes it from there, singing to the woman he loves, promising her eternal devotion:


(You Can) Depend on Me
Miracles Bobby Rogers, Claudette Rogers Robinson, Pete Moore, and Ronnie White, blend their voices into their trademark smooth harmonies to punctuate Smokey's vocals on the chorus and elsewhere.


(You Can) Depend on Me
”(You Can) Depend On Me” was first released in September 1959 as the b-side of “The Feeling Is So Fine”, which was quickly withdrawn. A re-recording of this song was issued as the b-side of the Miracles’ next single, 1960’s “Way Over There”, but it was the first version which appeared on Hi ... We’re The Miracles and most subsequent compilations.


(You Can) Depend on Me
"(You Can) Depend On Me" has inspired cover versions by fellow Motown artists Brenda Holloway, Mary Wells, The Supremes, and  The Temptations. It has appeared on many Miracles' Greatest Hits compilations and anthologies, and is the title song of the 2009 Motown CD compilation release : The Miracles – Depend On Me: The Early Albums.


(You Don't Have To) Paint Me a Picture
"(You Don't Have To) Paint Me a Picture" is a song written by Roger Tillison, Leon Russell, and Snuff Garrett and performed by Gary Lewis & the Playboys. It reached #9 in Canada, #15 on the Billboard Hot 100, and #58 in Australia in 1966. It was featured on their 1966 album, (You Don't Have To) Paint Me a Picture.


(You Don't Have To) Paint Me a Picture
The song was produced by Snuff Garrett and arranged by Leon Russell.


(You Don't Know) How Glad I Am
"(You Don't Know) How Glad I Am" is a song written by Jimmy Williams and Larry Harrison. In the US, its best-known recorded version is that by Nancy Wilson, a hit single for her, in the summer of 1964.


(You Don't Know) How Glad I Am, Background
Wilson, who had been recording since 1960, was afforded her first pop Top 40 hit with ..."How Glad I Am":


(You Don't Know) How Glad I Am, Background
In April 1965 "(You Don't Know) How Glad I Am" received the Grammy Award for Best Rhythm & Blues Recording: Wilson was reportedly surprised by the categorization of "... How Glad I Am" as R&B as she would have classed it as a pop record, and the track had not been a major R&B hit peaking at No. 45 on the Cash Box R&B chart (the Billboard R&B chart was dormant throughout 1964). Nancy Wilson would have one more Top 40 hit subsequent to "(You Don't Know) How Glad I Am": "Face It Girl, It's Over", which reached No. 29 in 1968.


(You Don't Know) How Glad I Am, Chart performance
×The single went to No. 11 on the Hot 100, as well as No. 2 on the Billboard Pop-Standard Singles chart.


(You Drive Me) Crazy
"(You Drive Me) Crazy" is a song recorded by American singer Britney Spears for her debut studio album, ...Baby One More Time (1999). Written and produced by Max Martin, Per Magnusson and David Kreuger with additional writing by Jörgen Elofsson and remix by Martin and Rami Yacoub, it was released as the album's third single on August 24, 1999, by Jive Records. It was featured on the soundtrack of the 1999 teen romantic comedy film Drive Me Crazy. The song garnered positive reviews from music critics, some of whom praised its simple formula and noted similarities to Spears' debut single, "...Baby One More Time".


(You Drive Me) Crazy
"(You Drive Me) Crazy" was a commercial success and peaked inside the top ten on the singles charts of seventeen countries. In the United Kingdom, it became Spears' third consecutive single to peak inside the top five, while it reached number 10 in the United States' Billboard Hot 100 and peaked at number one in Belgium (Wallonia) and Iceland. An accompanying music video, directed by Nigel Dick, portrays Spears as a waitress of a dance club and she performs a highly choreographed dance routine with the other waitresses. The video premiered on MTV's Making the Video special.


(You Drive Me) Crazy
It features cameo appearances of actors Melissa Joan Hart and Adrian Grenier, who star in the movie Drive Me Crazy, which is named for the song. As part of promotion for the song, Spears performed the song at the 1999 MTV Europe Music Awards and 1999 Billboard Music Awards. It has also been included on five of her concert tours.


(You Drive Me) Crazy, Background
Before recording her debut album, Spears had originally envisioned it in style of "Sheryl Crow music,  but younger [and] more adult contemporary". However, the singer agreed with her label's appointment of producers, who had the objective to target a teenage audience at the time. She flew to Cheiron Studios in Stockholm, Sweden, where half of the album was recorded in May 1998, with producers Max Martin, Denniz Pop and Rami Yacoub, among others. "(You Drive Me) Crazy" was written by Jörgen Elofsson, while song production and additional songwriting was done by Martin, Per Magnusson and David Kreuger.


(You Drive Me) Crazy, Background
Spears recorded the vocals for the song in March 1998, at Cheiron Studios in Stockholm, Sweden. It was also mixed at Cheiron Studios by Martin. Esbjörn Öhrwall and Johan Carlberg played the guitar, while bass guitar was done by Thomas Lindberg. Keyboards and programming was done by Kreuger, and additional keyboards by Magnusson. Background vocals were provided by Jeanette Söderholm, Martin, Yacoub and THE FANCHOIR, formed by Chatrin Nyström, Jeanette Stenhammar, Johanna Stenhammar, Charlotte Björkman and Therese Ancker.


(You Drive Me) Crazy, Background
In May 1999, Martin and Spears went to the Battery Studios in New York City, New York, to re-record the vocals of the track, due to the fact that a remixed version called "The Stop! Remix" was going to be included on the original motion picture soundtrack of the film Drive Me Crazy (1999). "(You Drive Me) Crazy" was released as a remix package as the third single from ...Baby One More Time on August 23, 1999.


(You Drive Me) Crazy, Composition
"(You Drive Me) Crazy" is a pop song. The song's composition follows a simple formula and infuses drums, guitar, and edgy synthesized instruments, including a recurring cowbell, and having a roughly similar sound to Spears' debut single "...Baby One More Time" (1999). According to the sheet music published at Musicnotes.com by Universal Music Publishing Group, "(You Drive Me) Crazy" is composed in the key of C minor and runs through a moderately slow dance beat infused metronome of 101 beats per minute. Spears' vocals were deemed as heavily processed when compared to the ones of her previous single, "Sometimes". Her vocal range spans over an octave, from the low-key of G3 to the high-note of D♭5. The song's primary chord progression is Cm–A♭-G (vi-IV-III), with a few deviations.


(You Drive Me) Crazy, Critical reception
The song garnered positive reviews from music critics. Kyle Anderson for MTV considered "(You Drive Me) Crazy" as "a similar-sounding anthem [to '...Baby One More Time'] with some streamlined rock guitar taking center stage (there's even a solo). It's catchy enough". Spence D. of IGN considered "(You Drive Me) Crazy" a "[Max] Martin's glossy grown-up pop" song, while Caryn Ganz of Rolling Stone called "(You Drive Me) Crazy" a "further hit" from ...Baby One More Time, along with "From the Bottom of My Broken Heart" and "Sometimes".


(You Drive Me) Crazy, Critical reception
Music critic Walt Mueller wrote "When Spears starts to sing on this one, she sounds a lot like Janet Jackson". Christy Lemire of the Associated Press noted that the song and "Stronger" are "so lamely feel-good" tracks that they "could have been the theme song to a 'Karate Kid' sequel". Evan Sawdey of PopMatters called it a "lightly dorky" song, and Stephen Thomas Erlewine of Allmusic deemed it as a "fluffy dance-pop at its best". In a list compiled by Sara Anderson of AOL Radio, "(You Drive Me) Crazy" was ranked ninth in a list of Spears' best songs. During the 2001 BMI Pop Awards, "(You Drive Me) Crazy" was honored with the award of Most Performed BMI Song.


(You Drive Me) Crazy, Critical reception
While reviewing ...Baby One More Time on its 20th anniversary, Billboard's Chuck Arnold felt that "sparkling with the Midas touch of Max Martin, 'Crazy' perfectly captures the crazy giddiness of young love -- the kind that keeps you up all night". The staff from Entertainment Weekly placed it at number 22 on their ranking of Spears's songs and wrote: "highlighted by her overpronunciation of "you", bell rings, and a backup choir that turns the chorus into a massive singalong. [


(You Drive Me) Crazy, Critical reception
'(You Drive Me) Crazy'] captures Spears at full force, with a robust vocal performance and an ab-emphasizing choreographed dance, remembered best through its music video". Bustle's Alex Kritelis Reilly preferred the Stop! remix over the original album version. Nayer Nissim, from Pink News, deemed it "another perfect bit of late '90s pop. Very nearly as catchy as her debut". Shannon Barbour from Cosmopolitan opined that it was "not her best song, but it's insanely addictive".


(You Drive Me) Crazy, Critical reception
Nicholas Hautman, from Us Weekly,  deemed it the singer's ninth greatest single and said: "This quasi-dorky dance track can be easily summed up using just three words: pure ear candy". For Digital Spy's Alim Kheraj the most notable thing was the song's prominent use of cowbells; "backed up by rock guitars and flawless Max Martin production, Britney sounds confident, her vocals clear and powerful".


(You Drive Me) Crazy, Critical reception
On 2019, the staff of Billboard ranked the "Stop! Remix" as the 39th greatest song of 1999; Nolan Feeney said that although it was "hardly unrecognizable", Spears' re-recorded vocals, the song's new intro and  "her headline 'Stop!' interjection in the reimagined bridge made it something truly worth losing your mind over".


(You Drive Me) Crazy, Chart performance
"(You Drive Me) Crazy" was a commercial success. The song peaked at number two on the European Hot 100 Singles, being held off the top spot by R. Kelly's "If I Could Turn Back the Hands of Time". In the United Kingdom, it was Spears' third consecutive single to reach a top five position. The track debuted and peaked at number five on the chart issue dated October 2, 1999, and stayed on the chart for a total of eleven weeks. It was eventually certified Silver by the British Phonographic Industry (BPI), for shipments over 200,000 units.


(You Drive Me) Crazy, Chart performance
According to the Official Charts Company, "(You Drive Me) Crazy" is Spears' seventh best-selling single in the United Kingdom, with sales over 275,000 physical units. The song peaked at number two in France and number four in Germany, being certified Gold in both countries for shipping over 250,000 units. It also peaked at number one in Belgium (Wallonia), finishing the year of 1999 as the 17th best-selling single. "(You Drive Me) Crazy" was also able to peak inside the top five in Belgium (Flanders), Finland, Ireland, Netherlands, Norway, Sweden, and Switzerland, while reaching top ten positions in Denmark and Italy. Later in 2012, the song managed to peak at number 65 in Czech Republic due to high airplay.


(You Drive Me) Crazy, Chart performance
In the United States, "(You Drive Me) Crazy" peaked at number ten on Billboard Hot 100 on the chart issue dated November 13, 1999, and became Spears' second single to peak inside the top ten in the country. On the same week, it peaked at number four on the Pop Songs component chart. On the chart compiled by RPM magazine, the song peaked at number three in Canada. However, on the Canadian Hot 100 compiled by Nielsen Soundscan, it peaked at number 13.


(You Drive Me) Crazy, Chart performance
The latter revealed that "(You Drive Me) Crazy" was the 44th best-selling single of 1999 in the country. The track peaked at number five in New Zealand, but failed to reach the top ten in Australia, where it peaked at number 12 on the chart issue dated November 12, 1999. However, the single was later certified Platinum by the Australian Recording Industry Association (ARIA), and was one of the best-selling singles of 2000 in the country. "(You Drive Me) Crazy" performed poorly in Japan, where it peaked at number 80, and stayed on the chart for two weeks only. Despite the low sales, it is Spears' 12th best-selling CD release in the country.


(You Drive Me) Crazy, Music video
The song's accompanying music video (which uses the Stop! Remix) was directed by Nigel Dick and filmed on June 14 and 15, 1999 at the AES Power Station in Redondo Beach, California. Spears conceptualized the video's treatment, and explained during an interview with MTV in 1999 that "it would be cool to be in a club, and we're dorky waitresses, and we break out and start dancing." At the time, Spears expected that the video would take her "to the next level".


(You Drive Me) Crazy, Music video
To promote the film Drive Me Crazy, actors Adrian Grenier and Melissa Joan Hart were invited to make cameo appearances in the video, since the song had been included on the film's soundtrack, however, Grenier did not want to participate. Dick commented on the issue, saying, "I was given instructions to ring him up and make sure he appeared in the video. I said, 'You know what, Adrian, I just think it would be great for your career, and Britney's a great girl and she's fun to work with.' Eventually he came around."


(You Drive Me) Crazy, Music video
Dick also revealed that he was impressed by the singer's work ethic, adding that she "came to the set completely rehearsed." The music video premiered on MTV's Making the Video special that aired on July 18, 1999. Due to Hart's appearance in the music video, parts of it were featured in the credits of the Season 4 premiere of Sabrina the Teenage Witch, an episode that guest starred Spears.


(You Drive Me) Crazy, Music video
The video opens with Spears as a waitress of a dance club. She then goes with other waitresses to their dressing room, where they finish their makeup and change costumes. Spears, now wearing a sexy, green sequined outfit, goes through the corridor to the dance floor with her friends, and starts to perform a high-profile choreography, including a chair dance sequence referencing Janet Jackson's "Miss You Much" video, which Spears also referenced in live performances of the song on the "Crazy 2K Tour".


(You Drive Me) Crazy, Music video
Scenes of Spears singing in front of a shining orange sign with the word "CRAZY" are also seen throughout the video. On August 24, 1999, the music video debuted at number four on Total Request Live. It is the longest running by a female artist on TRL, staying on the top ten for seventy-three days. The video was nominated on the category of Best Dance Video on the 2000 MTV Video Music Awards; it lost, however, to Jennifer Lopez's "Waiting for Tonight" (1999).


(You Drive Me) Crazy, Music video
An alternate footage of the video can be found on the DVD of Spears first compilation album Greatest Hits: My Prerogative (2004). Jennifer Vineyard of MTV commented, "the alternate audio gives the feel of Spears singing the song as a round, where the beat is in sync but one layer of her vocals is just slightly ahead of the other."


(You Drive Me) Crazy, Live performances and covers
Spears performed the song for the very first time at her L'Oreal Hair Zone Mall Tour in New York City, USA on July 1, 1998. As part of promotion for "(You Drive Me) Crazy"'s release as a single, Spears performed it at the 1999 MTV Europe Music Awards and at the 1999 Billboard Music Awards. It was also performed on five concert tours, the first being the ...Baby One More Time Tour (1999). The show began with a dance introduction by Spears' dancers among smoke effects.


(You Drive Me) Crazy, Live performances and covers
She appeared shortly after at the top of the staircase wearing a hot pink vinyl tube top and white vinyl pants with pink knee patches. During the 2000 leg of the tour, entitled Crazy 2k Tour, Spears changed the opening sequence of the show; the show started with a skit in which the dancers came out of lockers and stayed in the stage until a bell rang. They all sat until a female teacher voice started calling their names.


(You Drive Me) Crazy, Live performances and covers
After the teacher called Spears, she emerged at the top of the staircase in a cloud of smoke, wearing a top and white stretch pants, to perform a short dance mix of "...Baby One More Time". She then entered one of the lockers and appeared in another one on the opposite side of the stage to perform "(You Drive Me) Crazy", which included a chair dance sequence referencing Janet Jackson's "Miss You Much" music video that ended with Spears saying "Is that the end? ", quoting Jackson's phrase from the video.


(You Drive Me) Crazy, Live performances and covers
The song was once again performed in a dance-oriented form on the Oops!... I Did It Again Tour (2000–2001), while on the Dream Within a Dream Tour (2001–2002), the performance featured Spears being captured by her dancers. "(You Drive Me) Crazy" was also performed on The Onyx Hotel Tour (2004). For the tour, the song was remixed with elements of latin percussion. "Crazy" would not be performed by Spears for another nine years until it was included on the setlist of her Las Vegas residency show, Britney: Piece of Me (2013–2017).


(You Drive Me) Crazy, Live performances and covers
In 2002, British nu metal band SugarComa covered "(You Drive Me) Crazy" and included it on their album Becoming Something Else. American musician Richard Cheese also covered the song in 2003 and included it on his album Tuxicity. American pop band Selena Gomez & the Scene performed a homage to Spears during their 2011 We Own the Night Tour. They performed "(You Drive Me) Crazy" along with a medley of hits that included "...Baby One More Time", "Oops!...


(You Drive Me) Crazy, Live performances and covers
I Did It Again", "I'm a Slave 4 U", "Toxic" and "Hold It Against Me", mixed similar to the Chris Cox Megamix included in Greatest Hits: My Prerogative. In the 2012 Glee episode "Britney 2.0", the characters of Marley Rose and Jake Puckerman performed a medley of the track with Aerosmith's "Crazy" (1993).


(You Drive Me) Crazy, Credits and personnel
Credits for "(You Drive Me) Crazy" are taken from the single's liner notes.


(You Drive Me) Crazy, Certifications and sales
* Sales figures based on certification alone.^ Shipments figures based on certification alone.


(You Drive Me) Crazy Tour
The (You Drive Me) Crazy Tour (also known as Crazy 2k Tour) was the second concert tour by American entertainer Britney Spears, launched in support of her first and second studio albums, ...Baby One More Time (1999) and Oops!... I Did It Again (2000). The tour was designed as a continuation of the ...Baby One More Time Tour (1999) and a prelude to the Oops!... I Did It Again Tour (2000–2001). It was sponsored by Got Milk? and Polaroid.


(You Drive Me) Crazy Tour
The tour was divided into various segments, with each segment being followed by an interlude to the next segment, and it ended with an encore. The set list consisted of nine songs, seven from ...Baby One More Time and two from Oops!... I Did It Again, her then-upcoming album. During the tour, Spears was accused of lip synching, although she denied these claims. The show was recorded and broadcast on Fox, and a DVD entitled Britney Spears: Live and More! was released in November 2000.


(You Drive Me) Crazy Tour, Background and development
On December 17, 1999, during the premiere of the music video for "From the Bottom of My Broken Heart" on Total Request Live, Spears called the show to announce March US tour dates. The tour was designed as a continuation of the ...Baby One More Time Tour and a prelude to her future world tour. The leg's main sponsor was Got Milk?. Media director Peter Gardiner explained, "Britney is magic with teen-age girls, and that's an absolutely crucial target for milk". Spears shot an advertising campaign to be shown before her performances began. The secondary sponsor was Polaroid and the corporation released the Polaroid I-Zone as the official camera of the tour. Spears also used the I-Zone onstage to take pictures of the audience and further promote the product.


(You Drive Me) Crazy Tour, Background and development
The stage of the (You Drive Me) Crazy Tour was similar to that of the ...Baby One More Time Tour, although much bigger. There were many special effects, including smoke machines and fireworks that erupted during the show. There was a giant projection screen that resembled the magical mirror from Snow White and the Seven Dwarfs (1937). Also present was a mechanical magic carpet in which Spears sat and flew over the first 100 feet above the crowd. Spears, who had five costumes changes during the show, was joined on stage by eight dancers. The setlist consisted of nine songs, seven from her debut album and two unreleased songs from her then upcoming album, Oops!... I Did It Again (2000).


(You Drive Me) Crazy Tour, Concert synopsis
The show opened with a skit in which the dancers came out of lockers and stayed in the stage until a bell rang. They all sat until a female teacher voice started calling their names. After the teacher called Spears, she emerged at the top of the staircase in a cloud of smoke, wearing a top and white stretch pants, to perform a short dance mix of "...Baby One More Time". She then entered one of the lockers and appeared in another one on the opposite side of the stage to perform "(You Drive Me) Crazy".


(You Drive Me) Crazy Tour, Concert synopsis
Spears briefly talked to the audience, the segment continued with performances of "Born to Make You Happy" and "I Will Be There". After a dance interlude, Spears appeared onstage sitting on the magic carpet and flew over the audience while singing "Don't Let Me Be the Last to Know". When she returned to the stage, she performed another song from her upcoming album, "Oops!... I Did It Again". Spears addressed the audience again before the "Who is the Ultimate Heartbreaker?" interlude, in which her dancers picked a boy from the audience and invited him onstage.


(You Drive Me) Crazy Tour, Concert synopsis
Spears took to the stage again wearing a jacket and dedicated the performance of "From the Bottom of My Broken Heart" to the boy. She took off her jacket to reveal a pair of black pants that featured a sequined red heart in the back and performed "The Beat Goes On". After two interludes that presented her dancers and band, Spears appeared onstage to perform "Sometimes". The encore consisted of a dance-oriented performance of "...Baby One More Time".


(You Drive Me) Crazy Tour, Critical response
Jae-Ha Kim of the Chicago Sun-Times said that Spears "showed why she has got a leg up on blonder competitors such as Christina Aguilera, Jessica Simpson and Mandy Moore. Aguilera may have a better voice (and a Grammy to validate it), but Spears has that 'it' factor that worked for pinup queens of the past, such as Farrah Fawcett". Adam Graham of Central Michigan Life commented that "although the show was only about 10 songs long and the authenticity of her voice was in question throughout, it was really truly hard to walk away feeling anything but completely gratified". Dave Tianen of the Milwaukee Journal Sentinel believed that the show "was energetic, good-humored, fast-paced and bright".


(You Drive Me) Crazy Tour, Critical response
During the tour, accusations of lip synching arose. Spears talked to Rolling Stone about the accusations, saying,


(You Drive Me) Crazy Tour, Critical response
"There's a delay in the screen above me, so if you listen to the music and watch the screen, they don't sync up. I think that confuses people. But I'm singing every song. I'm singing my ass off. [ ...] There are times during the show, when I'm dancing so much, where I get out of breath, and we have a signal where I'm dying and they'll help me out. Believe me, I'd give anything to do a show where I just sit there and sing".


(You Drive Me) Crazy Tour, Broadcasts and recordings
On April 24, 2000, the concert at Hilton Hawaiian Village in Honolulu, Hawaii was taped. On June 5, 2000, it was broadcast in a special in Fox. On November 21, 2000, Jive Records released the Britney Spears: Live and More! DVD, which included the Fox special. It was certified three-times platinum by the Recording Industry Association of America (RIAA) for shipment of 300,000 copies in DVD units.


(You Drive Me) Crazy Tour, Set list
The following set list is from the show on March 14, 2000 in  Auburn Hills, Michigan. It is not representative of all concerts for the duration of the tour.


(You Got) The Power of Love
The Everly Brothers recorded "(You Got) The Power of Love", written by Delaney Bramlett and Joey Cooper, in Hollywood on February 3, 1966. Session artists included Glen Campbell, Larry Knechtel, Jim Gordon and Hal Blaine. Released by Warner Brothers as a single in April 1966, this rock and roll tune was a cohesive effort and remains a favorite today. The song featured on the In Our Image album subsequently released by Warner Brothers, one of a trio of albums regarded by Don Everly as the best they recorded for the Warner Brothers label, the other two being Rock N Soul and Beat N Soul.


(You Got) The Power of Love
It was also recorded by Nancy Wilson on a Capitol single that year.


(You Gotta) Fight for Your Right (To Party!)
"(You Gotta) Fight for Your Right (To Party!)" (shortened to "Fight for Your Right" on CD releases) is a song by American hip hop group the Beastie Boys, released as the fourth single released from their debut album Licensed to Ill (1986). One of their best-known songs, it reached No. 7 on the Billboard Hot 100 in the week of March 7, 1987, and was later named one of The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll. The song was also included on their compilation albums The Sounds of Science in 1999, Solid Gold Hits in 2005 and Beastie Boys Music in 2020.


(You Gotta) Fight for Your Right (To Party!), History
The song, written by Adam Yauch and band friend Tom "Tommy Triphammer" Cushman (who appears in the video), was intended as an ironic parody of "party" and "attitude"-themed songs, such as "Smokin' in the Boys Room" and "I Wanna Rock". However, the irony was lost on most listeners. Mike D commented that, "The only thing that upsets me is that we might have reinforced certain values of some people in our audience when our own values were actually totally different. There were tons of guys singing along to 'Fight for Your Right' who were oblivious to the fact it was a total goof on them."


(You Gotta) Fight for Your Right (To Party!), Music video
The music video for "Fight for Your Right" begins as a mother and father tell their two sons to stay out of trouble while they are away. When they leave, the two boys decide to have a party, hoping "no bad people show up"; this prompts the arrival of Ad-Rock, Mike D, and MCA at the party. The trio start all kinds of trouble within the house, such as chasing and kissing girls, starting fires, bringing more troublesome people into the house, spiking the punch, smashing things, and starting a massive pie fight.


(You Gotta) Fight for Your Right (To Party!), Music video
As the pie fight reaches its peak, Ad-Rock, Mike D, and MCA run away, the party having become too out of hand even for them. As the video ends, the remaining partygoers shout along to the final chorus of "party!" before hitting the returning mother in the face with a pie.


(You Gotta) Fight for Your Right (To Party!), Music video
Directed by Ric Menello and Adam Dubin, there are numerous cameos in this video, including an unknown-at-the-time Tabitha Soren, Robert John "Mutt" Lange, Def Jam label mate LL Cool J, Flea of the Red Hot Chili Peppers, members of the punk rock band Murphy's Law, as well as the Beastie Boys' producer, Rick Rubin, who was shown wearing an AC/DC and Slayer shirt, the latter of whom were also signed to Def Jam at the time.


(You Gotta) Fight for Your Right (To Party!), Music video
Soren, whose hair was dyed blonde for the shoot, got her chance to be in the video because she was a friend of Rubin's and attended nearby New York University. "I worked hard at not getting any pie goo on me," she recalls, because the whipped cream used had been scoured from supermarket trash cans since there was no money in the budget for it. As a result, it was rancid and had a foul odor. "The smell in that room, when everyone was done throwing pies, was like rotten eggs. You wanted to throw up."


(You Gotta) Fight for Your Right (To Party!), Fight for Your Right Revisited
In 2011, Adam Yauch directed and wrote a surreal comedic short film entitled Fight for Your Right Revisited to commemorate the 25th anniversary of the original video's release. The short film serves as a video for the single "Make Some Noise" from Hot Sauce Committee Part Two. Most of the non-sequitur dialogue between characters were a result of improvisation by the cast.


(You Gotta) Fight for Your Right (To Party!), Fight for Your Right Revisited
Revisited acts as a sequel to the events that took place in the original music video and features Mike D, Ad-Rock and MCA (played by Seth Rogen, Elijah Wood, and Danny McBride, respectively) as they get into more drunken antics, before being challenged to a dance battle by the future Mike D, Ad-Rock and MCA (John C. Reilly, Will Ferrell, and Jack Black, respectively), coming out of a DeLorean. Eventually, both sets of Beasties get rousted by a trio of cops (played by the actual Beastie Boys) and taken to jail.


(You Gotta) Fight for Your Right (To Party!), Fight for Your Right Revisited
The short features numerous cameo appearances, some appearing onscreen for only a few seconds. They include Stanley Tucci and Susan Sarandon (as the parents seen in the original video), Adam Scott, Alicia Silverstone, Amy Poehler, Chloë Sevigny, David Cross, Jason Schwartzman, Kirsten Dunst, Laura Dern, Mary Steenburgen, Martin Starr, Maya Rudolph, Orlando Bloom, Rashida Jones, Rainn Wilson, Shannyn Sossamon, Steve Buscemi, Ted Danson, and Will Arnett.


(You Gotta) Fight for Your Right (To Party!), Fight for Your Right Revisited
Although "Fight for Your Right" is not performed, its outro can be heard at the beginning of the short.


(You Gotta) Fight for Your Right (To Party!), Remake versions
Singer/songwriter Cara Quici sampled the song and added new lyrics for her 2013 song "Fight" personally approved by Rick Rubin and licensed by Sony ATV and Universal Music Group. The "Fight" video by Cara Quici features a cameo by Dennis Rodman.


(You Gotta) Fight for Your Right (To Party!), Cover versions, N.Y.C.C. version
In 1998, the song was covered by German hip hop act N.Y.C.C. as "Fight for Your Right (To Party)". It reached the top 20 in nine countries across Europe and in Australia and New Zealand. In the United Kingdom, where it peaked at number 14, it was the first song by a German hip hop group to reach the top 25.


(You Gotta) Fight for Your Right (To Party!), Cover versions, N.Y.C.C. version, Credits and personnel
Credits are lifted from the European CD single liner notes.


(You Gotta) Fight for Your Right (To Party!), Cover versions, Other notable covers and cultural usage
On August 2, 2009, Coldplay performed an acoustic piano-based version of this song during their concert on the final night of the All Points West concert series as a tribute to the Beastie Boys, who were unable to perform on opening night following Adam Yauch's announcement that he had cancer. The band performed this version again on May 4, 2012, at their concert at the Hollywood Bowl as a tribute to Yauch, who had died earlier that day.


(You Gotta) Fight for Your Right (To Party!), Cover versions, Other notable covers and cultural usage
After winning the 2020 AFC Championship Game, Kansas City Chiefs Tight End Travis Kelce chanted "You gotta fight for your right to party!" in his postgame interview. After the Chiefs' victory in Super Bowl LIV, Kelce again used the chant from the song at the victory parade in Kansas City. The song's main chorus has since become a cultural reference among Chiefs fans, and in the 2020 season became the song played at Chiefs home games to celebrate after each touchdown scored by the team.


(You Keep Me) Hangin' On
"(You Keep Me) Hangin' On" is a song recorded British singer Cliff Richard and released as a single in 1974. It peaked at number 13 on the UK Singles Chart, number 13 in New Zealand, and number 15 on the Irish singles chart.


(You Lift Me) Up to Heaven
"(You Lift Me) Up to Heaven" is a song recorded by American country music artist Reba McEntire. It was released in June 1980 as the first single from the album Feel the Fire. The song reached #8 on the Billboard Hot Country Singles & Tracks chart. It was written by Johnny MacRae, Bob Morrison, Bill Zerface and Jim Zerface.


(You Lift Me) Up to Heaven
The singer describes her lover as lifting her up to Heaven. She compares the experience as taking her higher than the mountains of Colorado.


(You Lift Me) Up to Heaven
McEntire promoted the song by singing it on famous television shows in 1980 including Hee Haw and Pop Goes The Country. She also sang it at the 1980 Academy of Country Music Awards.


(You Made the) Summer Go Away
"(You Made the) Summer Go Away", or simply shortened "Summer Go Away", is a song recorded by the American actor and singer David Hasselhoff featuring German recording artist Blümchen. The song was released on July 13, 2019, through Membran and Politur. The Swedish Grammy-nominated songwriter Jörgen Elofsson wrote the song. Hasselhoff chose Blümchen to sing the duet, when meeting backstage at one of the 90s Festivals. The track is a midtempo reggae fusion and pop song, which describes a couple leaving one another, having bad feelings afterwards.


(You Made the) Summer Go Away
Critics were mixed, where some praised the summer tune being catchy and easy to listen, while others felt the 90s reggae fusion sound a bit out to date. The single release also marks a soft comeback for both of them. Hasselhoff and Blümchen promoted the single with performances at the "ZDF Fernsehgarten", "Willkommen bei Carmen Nebel" and music festivals. The music video, directed by photographer Reza Norifarahani, stars Hasselhoff and Blümchen in front of a simple white background on a photoshoot and singing session having fun and mocking around, with some of the songs' lyrics popping up.


(You Made the) Summer Go Away, Background
When Blümchen has been asked by a fan at the program "MDR um 4 - Gäste zum Kaffee" on May 14, 2019 with whom she would love to do a duet, she said that she would love to work with MC Fitti while hinting she was already planning a duet, but she wasn't allowed to talk about it yet. Hasselhoff revealed at "Willkommen bei Carmen Nebel", that he chose Blümchen to sing the duet, when meeting spontaneously backstage at one of the 90s Festivals.


(You Made the) Summer Go Away, Background
In another interview with German television channel RTL, Hasselhoff explained why he invited her to feature on the song: "Before the world-record-breaking 90s concert at the Schalke [Arena], where we both were the headliners, I had no idea who Blümchen was. But then I looked her up on YouTube and followed up on her on the internet and I found out she sold 30 million records! And when someone mentions the name 'Blümchen', you can see how people get excited. She has a sparkle in her eyes - true star quality. And Jasmin also has an enormous amount of energy, just like me!"


(You Made the) Summer Go Away, Background
The song has been written by the Swedish Grammy-nominated songwriter Jörgen Elofsson and produced by Jürgen Engler. "Summer Go Away" is a midtempo reggae fusion and pop song. The official remix by Stereoact features a more modern up-to-date tropical house pop sound. The lyrics describe a couple leaving one another, having bad feelings afterwards. The song is inspired by super pop melodies with reggae fusion of the 90s, which were made famous most notably by Ace of Base.


(You Made the) Summer Go Away, Release
The song has been digitally released and distributed on July 13, 2019 in Germany by Membran and Politur.


(You Made the) Summer Go Away, Music video
The music video has been directed by the photographer Reza Norifarahani, who also did promotional photoshoots, prior the video shoot, with them. The copyright in this audiovisual recording is owned by Luna Studios, along with Norifarahani, Weimar Pictures and under exclusive licence to Membran Entertainment Group GmbH. The video has been uploaded and released on July 26, 2019, on Blümchen's Official YouTube account. It solely stars Hasselhoff and Blümchen in front of a simple white background on a photoshoot and singing session having fun and mocking around, with some of the songs' lyrics popping up. The video used the Remix by Stereoact for the music video, possibly due to the more modern up-to-date tropical pop sounds.


(You Made the) Summer Go Away, Live performances
Hasselhoff and Blümchen promoted the single with performances at the "ZDF Fernsehgarten" and music festivals. They first performed the song at the German program "Willkommen bei Carmen Nebel".


(You Make Me Feel Like) A Natural Woman
"(You Make Me Feel Like) A Natural Woman" is a 1967 single released by American soul singer Aretha Franklin on the Atlantic label. The song was co-written by Carole King and Gerry Goffin, with input from Atlantic producer Jerry Wexler. Written for Franklin, the record was a big hit reaching number 8 on the Billboard Hot 100, and became one of her signature songs. It made history in the UK singles chart a week after her death, finally becoming a hit almost 51 years after it was first released entering at #79.


(You Make Me Feel Like) A Natural Woman
Franklin also included a live recording on the album Aretha in Paris in 1968. Carole King has performed and recorded a version of the song along with Mary J. Blige, Celine Dion, and many others. At the 2015 Kennedy Center Honors, Aretha Franklin performed the song to honor award-recipient Carole King.


(You Make Me Feel Like) A Natural Woman, Original recording
Written by the partnership of Gerry Goffin and Carole King, the song was inspired by Atlantic Records co-owner and producer Jerry Wexler. As recounted in his autobiography, Wexler, a student of African-American musical culture, had been mulling over the concept of the "natural man", when he drove by King on the streets of New York. He shouted out to her that he wanted a "natural woman" song for Aretha Franklin's next album. Goffin and King went home and wrote the song that night. In thanks, they granted Wexler a co-writing credit.


(You Make Me Feel Like) A Natural Woman, Later versions
"Natural Woman" was released by Peggy Lipton in 1968 on her self-titled album on Ode Records, and by Freddie Hughes in 1968 as "Natural Man" (Wand Records 1192), and by George Benson on his album Goodies in 1968 (Verve Records V6-8771).


(You Make Me Feel Like) A Natural Woman, Later versions
Peggy Lee released a version on her 1969 album A Natural Woman.


(You Make Me Feel Like) A Natural Woman, Later versions
It was recorded by Carole King on her landmark 1971 album Tapestry. Celine Dion recorded the song in 1995 for the Tapestry Revisited: A Tribute to Carole King album, and released it as a single. Mary J. Blige also recorded the song that year for New York Undercover.


(You Make Me Feel Like) A Natural Woman, Later versions
Rod Stewart covered the song on his album Smiler in 1974.


(You Make Me Feel Like) A Natural Woman, Later versions
Joyce Sims recorded a version of the song for her 1989 album All About Love.


(You Make Me Feel Like) A Natural Woman, Later versions
Tami Roman's 90's R&B group, Female recorded a cover of the song for the 1995 motion picture soundtrack Panther.


(You Make Me Feel Like) A Natural Woman, Later versions
Beccy Cole covered the song live on her 2007 album, Live @ Lizotte's.


(You Make Me Feel Like) A Natural Woman, Later versions
Carole King and Gloria Estefan performed the song in May 2009 in the She's Got a Friend concerts at the Foxwoods Resort Casino in Connecticut. The audio from one of the performances was included on some editions of Estefan's 2013 album, The Standards.


(You Make Me Feel Like) A Natural Woman, Later versions
In 2012, Christine Anu covered the song on her album, Rewind: The Aretha Franklin Songbook.


(You Make Me Feel Like) A Natural Woman, Later versions
In 2014, Amber Riley covered the song on the fifth-season episode, "Bash," of  Fox's musical comedy-drama television series Glee.


(You Make Me Feel Like) A Natural Woman, Later versions
In December 2015, Aretha Franklin gave a universally acclaimed performance at the 2015 Kennedy Center Honors during the section for honoree Carole King.


(You Make Me Feel Like) A Natural Woman, Later versions
The song was featured on the debut album of the group Leading Ladies, performed by musical actress Cassidy Janson, who had played the title role in Beautiful: The Carole King Musical.


(You Make Me Feel Like) A Natural Woman, Later versions, Celine Dion version
"(You Make Me Feel Like) A Natural Woman" was released as a promotional single by Celine Dion in November 1995 in North America and the United Kingdom. It was featured on a tribute album to Carole King, called Tapestry Revisited: A Tribute to Carole King issued on October 24, 1995. Later, Dion included this track on most editions of her 1996 album Falling into You. The track was produced by David Foster. Dion's version enjoyed a moderate success on the adult contemporary charts, reaching number 4 in Canada and number 31 in the United States. In 2008, the song was featured on the US version of My Love: Ultimate Essential Collection. When Falling Into You won the Grammy for Album of the year in 1997, the song became the first to appear on two Album of the Year winners - following Tapestry's success in 1971.


(You Make Me Feel Like) A Natural Woman, Later versions, Celine Dion version
On April 14, 1998, Dion, Aretha Franklin, Mariah Carey, Shania Twain, Gloria Estefan and Carole King performed the song during a VH1 Divas concert at the Beacon Theatre, New York. The six vocalists were recruited by the cable music network VH1 to raise money for Save the Music, their education charity. Hyped extensively in the press, the event was a ratings winner for VH1 – so successful, in fact, that the network arranged to have the concert released on disc and tape on October 6, 1998. At that time "(You Make Me Feel Like) A Natural Woman" (performed by all the divas) was released as a radio single in selected countries.


(You Make Me Want to Be a) Mother
"(You Make Me Want to Be a) Mother" is a song written by Billy Sherrill and Norro Wilson, and recorded by American country music artist Tammy Wynette. It was released in January 1975 as the first single from her compilation album Tammy's Greatest Hits, Vol. 3.


(You Make Me Want to Be a) Mother, Background and reception
"(You Make Me Want to Be a) Mother" was first recorded in November 1969 at the Columbia Recording Studio in Nashville, Tennessee. Two additional tracks were recorded during this session including the single's B-side. The recording session was produced by Billy Sherrill, Wynette's long-time producer.


(You Make Me Want to Be a) Mother, Background and reception
The song reached number 4 on the Billboard Hot Country Singles chart in 1975. The song appeared on Wynette's third greatest-hits compilation release that year.


(You Make Me) Rock Hard
"(You Make Me) Rock Hard" is a song by the American rock band Kiss from their 1988 greatest hits album Smashes, Thrashes & Hits. The song is the album's second track and was released as its second single.


(You Make Me) Rock Hard, Background and writing
"(You Make Me) Rock Hard" is one of two new songs on the Kiss greatest hits album Smashes, Thrashes & Hits released in 1988, the other being "Let's Put the X in Sex". Both songs are about sex.


(You Make Me) Rock Hard, Background and writing
The song was written by Paul Stanley, Desmond Child and Diane Warren.


(You Make Me) Rock Hard, Background and writing
It was recorded by Paul Stanley on his own in July 1988 at New York's Right Track Studios. According to The Official Price Guide to Kiss Collectibles by Ingo Floren, "Let's Put the X in Sex" and "(You Make Me) Rock Hard" "let some fans wonder about the new musical direction of the band" because they "were produced with lots of keyboards over a dance-orientated beat".


(You Make Me) Rock Hard, Background and writing
The song was released in the United States as a cassette single in December 1988.


(You Make Me) Rock Hard, Music video
Howard Johnson writing for Classic Rock ranked the song's video at No. 8 on their list of The Top 10 Best Hair Metal Videos.


(You Want to) Make a Memory
"(You Want to) Make a Memory" is a song by American rock band Bon Jovi, which was released as the first single from their tenth studio album Lost Highway (2007). Written by Jon Bon Jovi, Richie Sambora and Desmond Child, it was released for radio airplay on March 20, 2007, and for download on the US iTunes Store on April 17, 2007. The song is a ballad, and was performed at several nationally-televised events in an effort to promote the single. "(You Want to) Make a Memory" peaked at number 27 in the United States, making it Bon Jovi's last single to break the Top 40 on the Hot 100.


(You Want to) Make a Memory
Two different versions of the song were released as singles. In every market except the U.S., the 'pop version' from the album was the single; in the U.S., however, a special 'country version' was released, which featured more instruments and a slightly different arrangement.


(You Want to) Make a Memory
The song received a nomination at the 2008 Grammy Awards for Best Pop Performance by a Duo/Group with Vocals.


(You Want to) Make a Memory, Background
Jon Bon Jovi came up with the title, music and most of the lyrics. Later he finished the lyrics with Desmond Child and Richie Sambora contributing a couple of lines in the lyrics. They finished the song in a couple of hours. While recording the song, Jon sat alone with Dann Huff in the booth playing acoustic guitar. Vocals, guitars, rhythm guitars and other parts were recorded following day.


(You Want to) Make a Memory, Background
"The beauty of '(You Want to) Make a Memory' is that it has the same feeling as 'Livin' on a Prayer'," noted Jon Bon Jovi in 2007. "Like we're starting in a whole new place again. I'll call it 'art' if it falls on its face and 'genius' if it works."


(You Want to) Make a Memory, Background
The video for the song was directed by Kevin Kerslake and shot in a bar called Layla's. Its storyline is based on the movie Ghost (1990) and is about a couple who is not together anymore. It was also inspired by the troubles Richie Sambora was going through in his own personal life at the time, such as the divorce with Heather Locklear, the custody battle in the middle of an alcohol addiction, and having lost his father to cancer. CMT hosted the exclusive on-air and wireless premieres of the video on Thursday, May 3, 2007. Video made its television world premiere on CMT's Top 20 Countdown and later bowed on CMT Mobile. The video was also available for free streaming at CMT's official website. That episode of CMT's Top 20 Countdown aired again on Friday, May 4, 2007 at 1:30 p.m. E.T./P.T.


(You Want to) Make a Memory, Background
Announced as the first single from Lost Highway on March 19, 2007, the song was released to radio stations on March 20, 2007. On the same day it was put on a stream on a band's official website. In the week of March 19, 2007, there were 185,000 streams of the song on band's website. For those who pre-ordered Lost Highway from May 10, 2007, iTunes Store offered an instant download of "(You Want to) Make a Memory" and live versions of "(You Want to) Make a Memory" and "Lost Highway" recorded at the Cannery Ballroom in Nashville.


(You Want to) Make a Memory, Background
Sven Philipp from Billboard gave a positive review: "Over a pulsing crescendo of acoustic guitars, piano and strings, Bon Jovi delivers his most soulful vocal in years, sounding relaxed and nostalgic as he offers '80s-soaked lines". Mike Kerwick from North Jersey Media Group stated "'Make a Memory' may not be as good as some of the band's all-time-great ballads ('Always' and "Bed of Roses" come to mind), but its steady build from beginning to end makes it worth a spin. It gets better with each progressive listen".