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"Gloomy Sunday" was first recorded in English by Hal Kemp in 1936, with lyrics by Sam M. Lewis,[2] and was recorded the same year by Paul Robeson, with lyrics by Desmond Carter. It became well known throughout much of the English-speaking world after the release of a version by jazz and swing music singer Billie Holiday in 1941. Lewis's lyrics referred to suicide, and the record label described it as the "Hungarian Suicide Song". There is a recurring urban legend which claims that many people have committed suicide while listening to this song, particularly Hungarians.[3]

No one outside of Leiber & Stoller better combined the commercial verities of pop with the deeper-than-dirt hoodoo of the blues than Toussaint did on songs like "Lipstick Traces (on a Cigarette)," "Ride Your Pony" or "Fortune Teller" (covered by the Stones, the Who and a host of other British Invaders). Writing and producing for Irma Thomas ("Ruler of My Heart," or "Pain in My Heart" when Otis Redding cut it), Benny Spellman ("Mother in Law"), Lee Dorsey ("Working in a Coal Mine") and Aaron Neville ("Hercules"), he helped define the sound of the city that helped define the sound of rock & roll: New Orleans. "There are some ingredients we share," Toussaint once said of New Orleans' unique mix of rhythmic and melodic traditions. "That second line brass band parade thing. The syncopation. The humor. . .We take longer to get to the future than anywhere else in America. . .So we have held on to the old world charm more."

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"In 1968 I always used to say that I wanted to make records they would still play on the radio in ten years," Creedence Clearwater Revival architect John Fogerty told Rolling Stone in 1993. Try 50 years. CCR were the catchy, hard-driving dance band amidst the psychedelic San Francisco ballroom scene of the late Sixties, scoring 12 Top 40 hits during their run while releasing an incredible five albums between 1968 and 1970. Fogerty's songwriting process reflected the blue-collar worldview of a guy who wrote his first Top 10 hit (1969's "Proud Mary") just two days after being discharged from the Army Reserves: "Just sitting very late at night," he said. "It was quiet, the lights were low. There was no extra stimulus, no alcohol or drugs or anything. It was purely mental. . .I had discovered what all writers discover, whether they're told or not, that you could do anything." Fogerty later admitted to envying the critical adulation received by Bob Dylan and the Band, but he tapped the tenor of his times as well as anyone, whether on the class conscious Vietnam protest anthem "Fortunate Son" or "Bad Moon Rising," which channeled America's sense of impending apocalyptic into two-and-a-half choogling minutes.

Neil Young's epic career has veered wildly from folk-rock to country to hard rock to synth-driven New Wave pop to rockabilly to bar-band blues. "Neil doesn't turn corners," Crazy Horse guitarist Frank "Poncho" Sampedro once said. "He ricochets around them." And while he's disappointed more than a few bandmates and fans with his at-times baffling career choices, his songs are always pure Neil. Young's creakingly lovely acoustic ballads and torrential rockers draw on the same ageless themes: the myths and realities of American community and freedom, the individual's hard struggle against crushing political and social forces, mortality and violence, chrome dreams, ragged glories and revolution blues. Young has released an astonishing 36 solo albums, five in the last two years. His best work ("Ambulance Blues," "Powderfinger," "After the Goldrush") may have come in the Sixties and Seventies, but every single album comes with more than a few amazing moments. Songs like the 1970 soft-rock classic "Heart of Gold," his only Number One single, have led to an image of the tireless 69-year-old legend as a lonely troubadour, but Young insists that's deceptive. "Something about my songs, everyone thinks I'm kind of downbeat," he said at his 1995 induction into the Rock and Roll Hall of Fame. "But things have been good for me for a long time. So if I look kind of sad, it's bullshit. Forget it. I'm doing good."

"First of all, we send all the presidents of the savings and loans associations over to run the country of Iraq. That would solve two problems right there. And world peace, I've got an answer for world peace. We take the money that it'd cost us to build just one B-1 bomber, that one that doesn't work. We change it into five dollar bills. We put all of this money into bags and we fly over the Atlantic Ocean, past Europe because they're getting their shit togehter anyway. We drop this money on the Russian people. All those little tiny pictures of Abraham Lincoln come tumblin' down out of the sky. I want them to feel those sawbucks in their hands. You know how your money feels when you accidently leave it in your blue jeans and you take it out and it's all warm and soft, oooh! Well we let those Russian people hang on to that money for about a week and then we fly back over there. We fill our airplanes full of mail order catalogs from L.L. Bean. From up in Columbus, Sporty's Pilot Shop. And Victoria's Secret! The Russian people have this money in their hand, the catalogs come down. They look at those pictures on the opening pages of the Victoria's Secret catalog, not back in the outdoors section, you know what I'm talking about right? They got the money, they got the catalogs, they're going to get the idea. They send all the money back to us to buy the stuff. We have full employment. There's world peace, and the Russians have crotch-less underwear through the twenty-first century! Thank you!"

The 1999 track Sandstorm by Finnish DJ Darude has become something of a legend in the world of EDM. The dance hit gained widespread popularity throughout the 2000s due to its popularity in sports, video games, and live-streaming; it has even become a reference in a running internet gag and meme. ff782bc1db