
Waiting on the World to Change
Steve Jordan on drums, Pino Palladino on bass, and a Grammy for a chorus about feeling politically stuck.

Steve Jordan on drums, Pino Palladino on bass, and a Grammy for a chorus about feeling politically stuck.

Joel wrote it at forty, after a twenty-one-year-old told him the fifties were dull; he has called the melody terrible.

Snider hung the melody on "O Come, All Ye Faithful," and the PMRC filed it under filth anyway.

King Curtis honks the tenor break, later echoed in Yakety Sax, while Leiber and Stoller turn chores into comedy.

Nineteen weeks on the Hot 100, fittingly, and a middle-aged narrator undone by a girlfriend who doesn't know Aretha Franklin.

Conceived as a satire of party songs, it became the band's only top ten hit, the joke unnoticed.
Two deliberate key changes raise the temperature under a teenager discovering his parents are cooler than he is.
Cochran overdubbed his own bass voice for the boss and the senator, Earl Palmer drumming behind the great teenage complaint.
Mott were splitting up when Bowie offered them this, written within hours of hearing the band was finished.

Dylan set out to write an anthem on purpose, borrowing the cadence of Irish and Scottish ballads, and got one.