Tag Archives: Hall & Oates

Awesome 80s Albums You May Have Overlooked

Count me among the minority who truly likes all genres of music and yes, no ones going to drive a bulldozer over my disco CD’s either. F*ck no. Not Donna Summer! Not Saturday Night Fever! I’ll be like the famous photo of the student in Tiananmen Square facing the tank. And a guitarist friend of mine who’s toured with Arlo Guthrie and other Folk legends like Willie Nelson will join me in solidarity and brotherhood here as he is a die hard Bee Gees fan too. So there. Say what you want about Barry Gibb’s “faggy falsetto” voice in misdirected machismo, he’s a great songwriter. Grease is the Word, brothers and sisters. Barry wrote that. See now you can’t possibly make fun of him out of ignorance anymore.

 

Okay. Moving on. Since plenty of my family and friends are 80’s freaks, I felt it appropriate to give out some suggestions for 80’s music lovers everywhere still lost in the land of Loverboy headbands. Which by the way yours truly has seen and they are fantastic as well as TONS of fun live.

 

Actually, the Archangel of 80’s music, Archangel Flockofsegulliel commanded me to enlighten the masses an iota (technically, more than a tad). So it is by Divine Decree I write this article. You’re probably asking “So how’s things in your padded cell?” Couldn’t be better. Cable TV, internet. Thanks for asking.

 

Anyhow, another reason that lead to this list was a musical comrade and I were talking about our Desert Island Discs, a concept of which has since been negated by the invention of the iPod. I then thought about the more obscure albums most people don’t know about from the era of music known as New Wave or 80’s.

 

My friend rightly calls The Cure’s Disintegration “a gift to Humanity.” Indeed, but the average 80’s fan knows about that album. I’m partial to the Cure’s Faith too. It’s got the grooves I need to “Let the coolness flow into our vertebrae” in the words of a Mel Brooks film History Of The World Part I.

 

In fact, years ago I developed complications due to wisdom teeth extractions. I got a post op infection and had to take heavy painkillers every 4 hours. I remember one night sitting in my living room after the painkillers whisked me away to groggy land while listening to The Cure. Boy did Mr. Smith’s music make so much sense to me then. It occurred to me that I was very near to the state most of it was written in and from. Robert Smith has stated he doesn’t remember writing or recording the Pornography album because he was so strung out on heroin. My friend does a fantastic Robert Smith impersonation of this interview blurb complete with the British inflection “That’s the album I don’t remember writing.”

 

In the same vein (pun intended), author William Burroughs doesn’t remember writing Naked Lunch, the novel which gave Steely Dan their name.  Yes they remain the only Grammy Award winning act named after a dildo. So that said, let’s stop talking track marks and start talking tracks!

 

Saga

Worlds Apart (1981)

Heads Or Tails (1983)

Saga is an oh-so-underrated Canadian band that you should definitely know more about. This is intelligent yet danceable grooving Proggy New Wave from Canada. They do other things up there besides play hockey and drink Molson you know. Seems Billboard needs to be reminded that Canada exists from time to time.  Listener’s also need to be tipped off that there are other acts from the Great White North besides Rush, Bryan Adams, The Guess Who, Joni Mitchell, Gordon Lightfoot, and Neil Young.  Oh and surprise, that other band I mentioned earlier, Loverboy also wear maple leaf underwear too.

 

Saga is reminiscent of the Power Pop style of The Outfield but with way more keyboards. I put them in the same category as far as energy vibe and positivity goes. They have over 20 studio albums in their catalog and have been recording for over 35 years. They’re only a one hit wonder to boneheads who wait to be spoon fed singles by MTV, commercial radio and record companies . They won a Juno award in 1982 (The Canadian version of a Grammy) after this album dropped for Most Promising Group Of The Year. Our friends Loverboy still hold the record for 6 Junos in one year, so rock those red Mike Reno headbands with pride kids because they are indeed a symbol of Canadian recording industry royalty.

 

Saga had two singles released that got some airplay off of Worlds Apart, their 4th album: “Wind Him Up” and their biggest single “On the Loose” which peaked at #26 on Billboard. However, in “On the Loose” much of the instrumental solo section was chopped off to fit the anal retentive 4 minute radio decree from Mount Sinai which is of course the Eleventh Commandment. One hopes the karmic entertainment in hell people for such song sushi chefs consists of Lynyrd Skynyrd, Led Zeppelin, Golden Earring and the Grateful Dead among others. The Beatles fell from grace too with “Hey Jude.” Thankfully Saga was saved from eternal damnation here but you can hear the song in it’s entirety safely on the album.

 

Another track which I always groove out to on the album, “No Stranger” could have also been released as a single. But again, the slower intro/build section topping 2 minutes would have been seen as “dead space” to commercial radio and would have been chopped off by the radio station sushi chefs.

 

Another Saga album from the 80’s you should definitely own is Heads Or Tales. It perfectly showcases why I love the guitar player in this band, Ian Crichton. He has such a physicality to his licks, riffs and solos. Ian’s playing is very animated and slippery with notes and phrasing. Listen to my favorite tune off this album “Catwalk” for an example of this. There’s a visual animation to his style almost as if the music was made for a soundtrack to a film but can surely stand on it’s own without accompanying visual images.

 

By this I don’t mean overacted facial expressions, atomic windmills or overdone stage gestures. I’m talking about the Holy manipulation of soundwaves. The producer on these Saga albums was Rupert Hine. Yes, you may know the name from your The Fixx albums. What you don’t have any The Fixx albums? No Howard Jones either? You need remedial ’80s then. You can chew gum and throw paper airplanes in that course. This article is for those who know about the Journeys, Loverboys and Madonnas already.

 

For you ’80s 201 students, Rupert Hine is a Composer/Producer who has also recorded his own albums. They tend to be hard to come by. One of the songs you’re probably familiar with if you’ve seen a bunch of John Cusack movies is “With One Look (The Wildest Dream)” off the Better Off Dead soundtrack which plays during the end credits. This is a quirky classic 80’s movie I’ve seen probably 900 times:

 

“Two dollars!”

“Go that way really fast, if something gets in your way, turn.”

 

See I told you. Rupert Hine wrote much of original soundtrack and the title track mentioned here features The Fixx vocalist Cy Curnin and guitarist Jaime West-Oram. A Saga track on Heads Or Tales that sounds like it could have just as easily been a Fixx tune or a Rupert Hine solo track is “Scratching The Surface.” There’s often a lot of “musical overlap” with Producers and the groups they write and work with, and you can get a decent 80’s Fixx (haha) with any of these.




 

Tubeway Army

Replicas (1979)

A seeming technicality on the album release date of April 1979, but New Wave and the music considered ’80s actually started in the late 1970’s. Before you knew him singing about “Cars” Gary Numan was in this group. “Cars” is a classic 80’s track, a song where drums accent on the 4 and by a white British guy before 1980. Wow. I’m speechless.

 

Replicas is a science fiction epic which you can nicely zone out to. I heard this album on college radio and had to pick it up. Thanks WRPI!! College radio is a beacon of actual music variety even more so than internet radio which tends to be just one genre per station just like commercial radio.

 

Although Replica’s lyrics and themes are science fiction, don’t let that turn you off. It’s not inaccessible, overdone and definitely not 80’s campy (but still fun) as Styx’s Kilroy Was Here (Domo Arigato Mr. Roboto–Japanese for “Thank You Very Much…”). There’s some really cool keyboard work on Replicas as far as 80’s goes–several tracks on par or exceeding “Cars” in my opinion. That being because essentially Tubeway Army was pretty much all Gary writing. Some of my favorite tracks on Replicas are “Are ‘Friends’ Electric?” which was released as a single and reached #1 in the UK, “You Are In My Vision”, “It Must Have Been Years”, and  the bonus tracks off the 1997 and 2008 Beggars Banquet reissues “We Are So Fragile” and “We Have A Technical.” The 80’s synth on this album will put a Miami vicegrip on your eardrums.

 

Utopia

Oblivion (1984)

P.O.V. (1985)

Utopia was a project of Todd Rundgren, another writer/producer known for singing “Hello it’s Me” and “Bang the Drum All Day.” Don’t we all Todd. And what do Grand Funk Railroad’s We’re An American Band and Meat Loaf’s Bat Out Of Hell have in common? Todd produced those albums among others. Not too shabby for a boy from Pennysylvania hey? I guess Hall & Oates, CinderellaPaul Gilbert (Mr. Big) and Poison carried that states pride in the 80’s too.

 

Todd also wrote “Love is the Answer” and Utopia recorded it on Oops! Wrong Planet, then England Dan And John Ford Coley recorded it shortly afterwards and that’s the version everyone is used to hearing on the radio. Yup, the Carole King Effect strikes again.

 

The Carole King Effect: When you write a song, record it and later somebody else records it but makes 10 times the money you did.

 

Carole wrote it first dammit!! So if you want to protest outside BMI headquarters there’s some picket sign

suggestions.

 

Anyhow, 2 Utopia albums any 80’s collection is lonely without are Oblivion and P.O.V. Really any album by Utopia is worth checking out. Rhino records released a double CD a few years back called P.O.V., Oblivion & Some Trivia. It has both albums plus the 2 new tracks from the Trivia compilation album. This is a great starting point to get you into this under the radar late 70’s-80’s group. This CD is also worth it for the song “Fix Your Gaze.”

 

The 2 albums included on this release have some of the coolest Utopia songs on them. EVERYONE in Utopia sang lead vocals so you get a variety of singers and really fat full multi part harmonies. The musicians Todd had with him in Utopia were professional touring musicians and session players as well. Keyboardist/vocalist Roger Powell for one toured with David Bowie. Bassist/vocalist Kasim Sulton toured with Meat Loaf (bassist on the Bat Out Of Hell album), Hall And Oates, and Joan Jett (was a Blackheart). So I’d say there’s a tad more than garage band creds here folks.

 

Some of the tracks on these albums that rock 80’s style are “Bring Me My Longbow”“Crybaby” ,“Welcome to My Revolution”  and “Winston Smith Takes It on the Jaw” from Oblivion and “Zen Machine” and “More Light” off of P.O.V. There’s plenty of lost 80’s gold buried on these albums. It’s like totally an 80’s tragedy that NONE of the tracks off of Oblivion were released as singles. There’s some absolutely slamming uptempo tracks like the ones listed above as well as some amazing slower introspective tracks like If “I Didn’t Try”“Maybe I Could Change” (which has a gorgeous piano arpeggio intro) and “I Will Wait.” Still, the album charted in the US at the number 74 position despite the lack of a single. If it had even one single, it would have climbed higher instead of getting lost in the oblivion of radio station shelves.

 

I’m not sorry I own any of these 80’s albums and you won’t be either. Mike Reno gives his blessing for you to own them as well. Some I found in bargain bins, which just goes to prove the old axiom one man’s trash is another man’s treasure, and with music, one man’s earwax is another man’s earworm.

© Composer Yoga




 

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Sound Mines: The Outfield “Taking My Chances”

The unfortunate thing about massively successful albums is there's songs on them that never see the light of day.

 

Stated another way, if these songs were written by another band or artist, they would have been released and became their signature song in an alternate parallel pop universe.

 

The Outfield had their breakthrough album with their 1985 debut Play Deep. And it was all about some girl named Josie after that.

 

The band have so many instantly recognizable songs: "Josie's on a vacation far away..." see what i mean? And from there, bassist Tony Lewis became known as the lead singer. But there was another singer in the band who you only heard in their signature harmonies, which we'll come back to in a moment.

 

But first: The pop world is still wondering, "Is this same "Josie" Steely Dan hung around in the 70's? Did Josie also attend Bard College with Walter Becker and Donald Fagen then do a semester in London?"

 

Play Deep was huge with 4 singles becoming radio mainstays: "Your Love" (AKA that tune about Josie), , "Say It Isn't So", "All The Love" and "Everytime You Cry."

 

Like Cheap Trick, The Outfield have so many interesting songs buried in their respective catalogs. Do yourself a favor and dig into their deeper tracks. You'll find veins of auditory ore that'll turn you into a more active fan of both bands. Okay I used to live near Robin Zander for those of you full disclosure purists.

 

The Outfield were a brilliant blend of power pop, new wave and pop rock with trademark crisp, clean positive vibes. A band from London and apparently not pissed off about anything when the prices of hotel rooms there alone are enough to piss off most tourists.

 

The vision behind The Outfield was guitarist/keyboardist/songwriter and yes, vocalist John Spinks. And it is John who is lead vocalist on our featured track here "Taking My Chances." John Spinks was a regular "jack" of all instruments like that Canadian Aldo Nova or that Prince guy you may have heard of.

 

For those fans who missed Canadian Musicians 102, Aldo Nova had a major hit with the tune "Fantasy" off his 1982 self titled debut Aldo Nova. You can now safely go back to your Rush, BTO, The Guess Who, Céline Dion, Bryan Adams and Corey Hart with or without OSHA approved sunglasses.

 

While main Outfield vocalist Tony Lewis showcased a high piercing positivity like Jon Anderson of Yes, John Spinks had a deeper introspective voice which made for a rich vocal blend with and classic counterpoint to Tony Lewis.

 

On top of that, John Spinks' guitar tone is among the happiest guitar tones I can think of. The matrimony of Lewis's soaring vocals and Spinks's guitar tone and style is something that often goes unnoticed and understated for why The Outfield have legions of fans outside the English speaking world.

 

Close your eyes (You Canadians take your sunglasses off) and imagine that "Taking My Chances" was the first tune you ever heard from a new band called The Outfield. You'll see that John Spinks could have fronted his own band as guitarist and lead singer:

Hey Rick Springfield did it. So did Bryan "Sandpaper Larynx" Adams. John Spinks easily could have done so too with all the demos he made that eventually became Play Deep. But The Outfield was a project he enjoyed with his pre–fame bandmates since the late 1970's, bassist/singer Tony Lewis and drummer Alan Jackman.

 

"Taking My Chances" reverses the traditional vocal order of The Outfield winning formula but it still works great. It also demonstrates how well John and Tony blended their vocal harmonies and could expertly weave in and around each other no matter who was the lead off hitter in the song.

 

It's this classic blend of high range and low range vocals which worked superbly for other successful acts generations a generation earlier like Hall & Oates and Kiss. Daryl Hall & John Oates and Paul Stanley and Gene Simmons gave the ear fix for high and lows plus the chorus blends of each. Coincidentally, The Outfield and Hall & Oates both had a hit song titled "Say It Isn't So."

 

This "Master Blend" also worked well for Journey although briefly. The Tony Lewis and John Spinks blend was also similar to Steve Perry and Gregg Rolie. the former vocalist for Santana and original Journey vocalist. Rolie has such a beautiful deep soulful voice, and is best known or singing "Black Magic Woman"  but gives stellar performances on tracks that have been largely unknown and forgotten which is  another story altogether.

 

For just 3 people, The Outfield packed a lot of power and wattage. Their incredibly full sounding choruses weaved from the tapestry of harmonizing between John and Tony gave songs their characteristic punch.

 

The Outfield wrote great pop music and weren't pretending to be anything they weren't. In fact, the same 3 bandmates which became the classic Outfield lineup took a hiatus in the late 70's because the Punk Movement was becoming more popular in England.

 

Instead of getting mohawks, bleaching their hair fluorescent orange, or piercing their nipples with nunchucks, John  Spinks, Tony Lewis and Alan Jackman took a long 7th inning stretch into the mid 80's when the music industry, now steadily dating it's new flame MTV, became more favorable to their original style of songwriting. The strange thing being, even though the English speaking world was all over British Pop/New Wave acts like Duran Duran and The Fixx, The Outfield were never as popular in their native England as they were in the United States.

 

What I've always enjoyed about The Outfield is the production quality of their songs is always crystal clear but never hospital sounding sterile. There's always a vibrance and energy to the music and instruments in the mix. The recording quality is always bright and shiny, it's like listening to sunlight reflecting off chrome. People just feel good listening to them, just like a simple Beach Boys song. And that's all the proof anyone's ears need.

 

Sadly the creator and songwriter of The Outfield, John Spinks died of liver cancer in 2014 at just 60 years of age.  Later in early 2016, liver cancer also claimed David Bowie. But John's legacy lives on as does his pleasantly hypnotic vocal tonality on this track which never made it out of the band's batting cage of potential hits.

 

"Taking My Chances" is great song that got overlooked because it was a track on a album filled with great pop songs. Play Deep quickly went triple platinum and continues to be a Must Have 80's album for new generations of fans.

 

Indeed The Outfield knocked it out of the park on their first album. They could have also hit more singles.

© Composer Yoga

Related Posts To Check Out:
Closet Singles: The Outfield “New York City”

Recommended:
Sound Mines: Prince “Mountains”
Closet Singles: Hall & Oates “You’ll Never Learn”
Sound Mines: Bihlman Bros. “Dream”
Closet Singles: Devo “Later Is Now”
George Michael: The Careless Whisperer
Closet Singles: Billy Idol “Hole In The Wall”

 

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Rock/Pop Finance: Songs

A list of songs that draw their name from the world of finance (updated periodically)

Bitches & Money (Master P featuring The Real Untouchables)
For the Love of Money (The O’Jays , Utopia)
Gold (John Stewart & Stevie Nicks)
Last Dollar On Earth (Utopia)
Lawyers, Guns and Money (Warren Zevon)
Money (Pink Floyd)
Money For Nothing (Dire Straits)
Money Talks (AC/DC)
Take The Money And Run (Steve Miller Band)
The Big Money (Rush)
Rich Girl (Hall & Oates)

© Composer Yoga

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Hair Metal Heaven: Cinderella “If You Don’t Like It”




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Ah, one of my favorite deep cuts of Hair Metal. This is Hair Metal having a bad hair day. This is Hair Metal Sweeney Todd would rock out to while practicing his horrific handiwork. If you've only heard Tom Keifer wail away on Cinderella singles released to radio, you'll be pleasantly pleased with this ear shattering escapade in E mixolydian. "If You Don't Like It" delivers bluesy banshee riffs with Tom's trademark sonic screams galloping on an uptempo iron horse.

 

"If You Don't Like It" is a track off Cinderella's sophomore album Long Cold Winter released in 1988. Long Cold Winter reached #10 on the charts and went double platinum by year's end. The album produced the Hair Metal classic "Gypsy Road" and the power ballad "Don't Know What You Got (Till It's Gone)" which holds as the highest charting single for Cinderella reaching the #12 slot. Long Cold Winter also included the singles "The Last Mile" and "Coming Home" which just edged in the top 20. "If You Don't Like It" is a fun FU song in the tradition of The Eagle's "Already Gone", Billy Joel's "My Life", and Metallica's "Escape." Tom Keifer carried this grand gospel of youthful declaration of independence to Hair Metal.

 

I don't need anyone
To tell me how to run my life
Got along alright so far
I don't really think I need to hear your advice
I've got my mind made up know what I wanna do
I'll do it anyway I choose
So just sit back shut up for a minute let me show you what I'm gonna do

 

Funny how a band name like Cinderella began in a location not exactly red carpet velvet rope glass slipper territory. Guitarist Tom Keifer and bassist Eric Brittingham met in a bar bathroom on Halloween in 1980. There's an "I Just Knew" tale that could stack up to the best of those relationship and wedding story TV shows. Actually Keifer and Brittingham had also revolved through the same Philadelphia area band Saints In Hell earlier.

 

We can't talk about Cinderella without mentioning fellow brotherly love band Britny Fox. Britney Fox was formed by 2 former Cinderella members: Guitarist Michael Kelly Smith and drummer Tony Destra. It's a Hair Metal fairy tale of the birth of 2 bands like Metallica and Megadeth minus the some kind of soap opera monster of drug abuse that always upstages people's lives.

 

Just over 2 hours outside Philly in Mechanicsburg, yet another 80's Hair Metal band was cutting their chops on nightclub stages before relocating to L.A.: Poison. Across the state line just south of the PA border in nearby Hagerstown, Maryland, Kix was blowing fuses in the club circuit. This general area was at the crosshairs of the east coast Hair Metal invasion. A decade earlier, the Philly area sprouted some Hall & Oates, who became one of the most successful duos of all time. Afterwards acts out of the Philly area that achieved prominence were R&B/Soul/New Jack Swing group Boyz II Men and Trance Fusion/Jam band the Disco Biscuits.

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There's several vocalists in the Hair Metal Howler club I get my regular guilty pleasure fix along with Tom Keifer: "Dizzy" Dean Davidson of Britny Fox and Steve Whiteman from Kix. They continue the vocal styling of 70's rock bands like AC/DC, Aerosmith, and Nazareth which Tom Keifer could easily go back and time and fill in on a gig for Dan McCafferty singing "Hair Of The Dog" and only Dan's mom would probably notice.

 

"Nobody's Fool" firmly established Cinderella in the subgenre of pissed off maverick glam as their flagship song from their debut album Night Songs which reached the #13 position. The noble tradition continued on Long Cold Winter with "If You Don't Like It":

 

Take it to your heart gonna tell ya from the start
Gonna send a word or two your way
So just sit back take a ride on your pony
It'll all come back to you one day

 

There's so many cool parts to this tune: The strummed chords in the intro and overlaying spacious atmospheric whammy bar work, the main riff which becomes the bedrock for the chorus, the pulsating driving rhythm in verse like a steaming locomotive loaded with boxcars of boiling beratement, the slinky blues based snub your nose dalliance of the prechorus. There's even a Jon Bon Jovi sighting at the end of this clip if that's not enough:

As to Cinderella, the band had more in common with her maid rags as the preferred "Royal Ball" stage fashion during the 1980's than fairy tale footwear. Tom Keifer prefers wearing snakeskin boots when strolling down Gypsy Roads anyway, and if you don't like it, he's gone on record here on the probability of a care package arriving during a Long Cold Winter in Hell.

© Composer Yoga

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Stages Of Relationships According To Pop Songs

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Boston had a Third Stage. Def Leppard had Stagefright. Funkadelic took it to the stage. Rush exited Stage Left. But from the hallowed halls of Psychology, it’s generally agreed that there are 5 stages of relationships.

 

Citing the work of Dr. Susan Campbell and as a musician, Psychology student and armchair musicologist, I came up with the exciting new field of Pop Song Psychology which coincides consummately with the social conventions of dating and relationships. I’ve researched and discovered there are numerous pop songs that correlate to mainly the first 3 stages of romantic relationships.

 

Billy Joel’s “Just The Way You Are”, obviously written in the ROMANTIC period of a relationship: Stage 1. Here no one has flaws, everything’s just perfect. It’ll never end. How lucky they are to have found Mr. or Ms. Right. You’re far from “Movin’ Out” yet.

 

Billy’s Ode to Stage 1 has outlasted the 2 months to 2 year average duration of the Romantic Stage oh just by a few DECADES.

 

More songs praising this idealized stage include:

“Every Breath You Take” by The Police albeit disturbingly from a stalker’s point of view. There’s also “Don’t Stop Believin’” by Journey and “Hot For Teacher” by Van Halen. Co–-dependency is rampant in this stage, even put on a pedestal to demonstrate how much in love the new couple really are. The couple believes they can’t live without each other even though they got along just fine for a decade or more before they knew each other existed. “Can’t Smile Without You” by Barry Manilow is a song that should definitely check in to Co–-Dependents Anonymous. It’ll probably check in as a double CD set though.

 

“Jesse’s Girl” by our pop star peeping tom Rick Springfield is an interesting twist on this. It’s about a guy jealous of a couple in Stage 1—his homeboy Jesse and his new girlfriend or shorty. If Rick waited a bit for things to run their course, he may just have “Jesse’s Girl” although he won’t win any Grammy Awards for discreetness. The upshot in it for us is we may all finally get to know her on a first name basis. A Stage 1 relationship is the case of most industry standard enamored, entranced, infatuatory soliloquy pop songs that are titled with someone’s first name with the notable exception of Jim Croce’s “Bad, Bad Leroy Brown.”

 

“Livin’ On A Prayer” by Bon Jovi is one of these too. I mean Tommy used to work on the docks. He don’t drive no BMW but Gina’s in love and won’t listen to her parents. She’s into her bad boy phase. She’s working the diner all day, working for her man and brings home her pay for love. But what happens when Tommy just keeps collecting unemployment checks and playing Guitar Hero all day? We never hear about that part. No one sings about debts, mortgages and repossessed automobiles.

 

Moving on, Tommy and Gina would be livin’ in a new song in Stage 2: the Power Struggle Stage. The “Wow, differences and annoying habits actually now exist and they’re BAD.”

 

There’s a few metric tons here. Probably more pop tunes than any other stage reside here. The stage where divorce, affairs and breakups most often occur. Here’s a partial list:

“Baby Come Back” by Player
“Misunderstanding” by Genesis
“Break Up Song” by the Greg Kihn Band

Actually Greg weighs in twice here with “(Our Love’s In) Jeopardy”
“Free Bird” by Lynyrd Skynyrd
“Separate Ways (World’s Apart)” by Journey
“Breaking Up Is Hard To Do” by Neil Sedaka
“I Will Survive” by Gloria Gaynor
. She’s back after shacking up with some dude from outer space.
“On My Own” by Michael McDonald and Patti LaBelle
“She’s Gone” by Hall & Oates

And some songs, like Meat Loaf’s “Paradise By The Dashboard Light” take us fast forward style though both the first 2 stages of a relationship.

 

For those that make it through Stage 2, the Power Struggle Stage, and aren’t praying for the end of time yet, they enter the Stability Stage: Stage 3. Like Monty Python’s “Life of Brian” you live the mantra of “Yes, we’re all individuals” and can accept it. You know and have resolved yourself about your significant other that “and this bird you cannot change.” You’re cool with giving each other freedom, space and choice.

 

Stage 3 is the second most common stage for divorce, split–ups, and couples counseling though. Also, people can tend to seek affairs out of boredom and stagnation if either rears it’s ugly head in this stage.

 

The best advice the pop world gives us here is:
“Hold On Loosely” by .38 Special

Or you could turn to the B–sides of this stage:
“Run To You” by Bryan Adams
“Your Cheatin’ Heart” by Hank Williams, Jr.

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Past the potential barroom and courtroom rubble of the pitfalls of Stages 2 & 3, there’s Stage 4: The Commitment Stage. People here see each other clearly and not through the rose colored lenses of their initial hormonal surges of the Romantic Stage. You don’t NEED each other, you CHOOSE to be with each other. It’s you, me AND us. And perhaps “Me And You And A Dog Named Boo” if as a couple you decide to have pets. You accept each other’s differences, preferences, and peculiarities. Yah baby, “You Can Leave Your Hat On” the tune made famous by Joe Cocker.

 

Last but not least (actually it is the least) is Stage 5: The Co–Creations Stage. This is where a couple functions as a team out in the larger world beyond their private relationship, but you know there’s just not too many pop songs called “I Love You Now Let’s Save The Whales.”I Love You And The Rainforest”, “Our Love Is As Strong As The New Trees We Planted”, “Our Love Keeps Growing Like Everyone’s Civil Liberties” and “Our Love Keeps Increasing Like Lawsuits Against Monsanto” are still waiting to be penned by someone too.

 

It’s heavy stuff this Bono/Sting save the world shizzle and not many couples can go there hence the lack of pop songs about it. No, John Mellencamp’s, “Jack And Diane” are still back in a timeless High School void Stage of a Romantic Relationship. They probably got divorced by now. At the very least I think Diane filed a restraining order and Jack’s paying child support. Maybe Mellencamp will release those follow up tracks on a “From The Vault” compilation in the future. But songwriters don’t typically sing about that reality based gloomy stuff except Don Henley“The End Of The Innocence” and Steely Dan with “Haitian Divorce.” Even Detective Barry Manilow went there at the Copa—Copacabana. Barry investigated the nightclub crime scene, dusted for prints and wrote his famous auditory affidavit.

 

Alas, but our friends in Prog Rock are no stranger to songs climbing higher on Maslow’s Ladder than on top 40 charts. These are tunes touching on the theme of Self–Actualization and the song “Closer To The Heart” by Rush is an example of this.

 

Although rare, deeper self soul searching and the penultimate quest for the meaning of life are more common themes in pop songs than doing so as a couple. U2 captured and rehabilitated these endangered song subject species on the tracks “I Still Haven’t Found What I’m Looking For” and “Where The Streets Have No Name.”

 

I hope Lloyd Dobler isn’t around because it’s my turn to Say Anything and he may be crushed by what he’d hear right now and throw a vintage 80’s boombox in my general direction. But Peter Gabriel’s “In Your Eyes” is actually not about a romantic serenade to a girl. It’s a song about discovering one’s Spirituality, a merging into a deeper relationship with the Di–vine not some girl named Di–ane. I do hope this clarifies things for him. But Lloyd’s just out of high school and God’s like not even on his bucket list yet.

 

By now, time has given our friend Lloyd some minor tendonitis in his fingers, arthritic wrists and shoulder blades from his all night cassette playback vigil outside Diane’s bedroom window. The “Radio Romeo Rheumatoid” is what I hear they call him in physical therapy these days. Besides (or B–sides) “Lloyd And Diane” just doesn’t have the same ring to it as “Jack And Diane.”

 

So why doesn’t love stay on the Top 40 charts? Is it nothing more than different CD’s the jukebox of our lives plays at the drop of a few lonely quarters?

Captain James T. Kirk can explore the Universe, be immortalized in 1980’s German New wave pop via Nena’s “99 Luftballoons” yet still painstakingly plead in anguish and confusion, (Spoken in Kirk syncopated verse) “Spock, why can’t love be like a pop song?”

(Spock voice): “Captain, human behavior is highly illogical as are your pop songs. I’m still quite befuddled by the lyrics of “Come Together” and “Lucy In The Sky With Diamonds” myself. It would be perhaps advisable not to get me started on “Yellow Submarine” or “I Am The Walrus” for that matter either. (Holding up Vulcan “V” hand sign) Goo Goo G’Joob Captain. I believe that means “Sing Long of Nonsense” in Beatleish or Beatlease, however one may choose to classify this yet uncategorized subdialect of 20th Century British English.”

 

But do you wonder, wonder, who—who wrote the book of love? Well, at least we know who DIDN’T—God couldn’t get a publishing deal. Now you know the truth…and Ye who knoweth the truth, the truth shall set you FREE BIRD!!

© Composer Yoga

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More Cowbell!!: Nazareth “Hair Of The Dog”

The 70’s was the decade that paved the way making it cool to write songs about bitches.

 

Miles Davis was in the kitchen (albeit not with Dinah) making a brew with a recipe from some bitches.

Hall & Oates were having “issues” in their relationship with a Rich Girl (it’s a bitch, bitch girl…).

The Rolling Stones were in couples therapy as well trying to fix love but it was a bitch alright.

Elton John told us flat out the bitch is back. Yes indeed, the prophecy foretold came true: “the fever’s gonna catch you when the bitch gets back.”

It even became cool to call oneself a bitch. Yes SIRee, Elton admitted his bitchdom long before Meredith Brooks.

 

However, just like Yoda revealed there was another Skywalker, the bitch saga didn’t end here. Lo and behold she procreated—gestated and nurtured a baby riff which grew into this beautiful top shelf Slut Rock gem from Scotland’s Nazareth.

 

The song was unassumingly disguised from censors and parents suffering from generalized anxiety with the “fluffy” title, “Hair Of The Dog.” Nonetheless, we were thus aptly forewarned:

Now you’re messin’ with a son of a bitch.

 

Nazareth formed back in 1968 in Scotland as a hard rock band. The group’s original lineup consisted of S.O.B. vocalist and Talk Box maestro Dan McCafferty, Manny Charlton on guitar, Pete Agnew on bass, and Darrell Sweet on drums and cowbell.

 

Nazareth was named after Nazareth, PA not the Bible zip code Jesus’ old hood was located in. They named themselves after the Pennsylvania borough as they were influenced by The Band’s song “The Weight” which mentions “Pulled in to Nazareth…” in its opening verse.

 

Nazareth, PA is just northeast of Allentown, which Billy Joel sang about, and Nazareth is also home to the C.F. Martin & Company guitar factory. Aside from that, driving through rural Pennsylvania one would see lots of farmland and multitudes of cows roaming the pastures. Just avoid driving through in say July as ripe manure and summer heat do not go together like peanut butter and jelly.

 

Trust me. I was on the road with a band and we endured a torturous half hour dutch oven of that fermented cowpie cocktail on Interstate 80—windows fully rolled up and AC on full blast could not save us from this unfortuitously fecal fate.

 

The good news is, I doubt too many people get pulled over by Police in those areas. It’s probably the closet thing America has to an Autobahn save maybe some interstates in Texas where the speed limit is 80 mph, almost legal for Marty and Doc to go back to the 70’s and get down at Studio 54.




Nazareth toured with Deep Purple after their sophomore album Exercises was released (1972). Deep Purple bassist Roger Glover produced their 3rd album Razamanaz in 1973 and continued producing their next two albums Loud ‘N’ Proud (1973) and Rampant (1974).

 

Hair Of The Dog came out in 1975 and was Nazareth’s 6th and most successful album of their career. Two songs released from the album charted: The self titled track “Hair Of The Dog” served up with cowbell and a cover of The Everly Brothers song “Love Hurts” which became their biggest hit.

 

“Love Hurts” went platinum and was a top ten hit in 9 countries reaching the #1 spot in 6. Obviously “Love Hurts” if one is messing with a son of a bitch.

 

“Hair Of The Dog” is one of those songs where the song title is never actually sung or mentioned in the song. It is known better as “Now you’re messin’ with a son of a bitch.”

 

Back in high school, I used to play classic rock stations sometimes while I was working out and always dug when this tune came on. I also didn’t know the song was called “Hair Of The Dog” until later.

 

The album and title track were originally going to be titled “Heir Of The Dog”, a play on words for “son of a bitch.” The record company didn’t like it for whatever reason and it was changed to the spelling “Hair Of The Dog.” So the song’s title is not a reference to the slang idiom “The hair of the dog that bit you” which seems the folk “homeopathic” cure for a hangover—to drink more alcohol to alleviate it.

 

This 70’s classic rock tune is the kissing cousin to The Beatles “Paperback Writer.” If you know how to play both songs or have a listener’s ear not prone to ADD, you’ll notice the main riff is similar in both:

 

“Hair Of The Dog” is more laid back and leisurely while “Paperback Writer” has a faster tempo. The first part of the riff is essentially the same notes while the ending differs:

 

“Hair Of The Dog” is super fun to play and sing—although when I do, I have to plan on not doing much talking for the next few days. It’s a party song, tongue and cheek, sung balls out but maintains a fun playful vibe and doesn’t come off as angry or malicious.  And it has cowbell to boot!!

 

The Hair Metal vocal stylings on “Hair Of The Dog” were a stray puppy back in the 70’s and that spandex & aqua net Lassie came home to the Hair Metal 80’s. Hair Metal may have started with “Hair Of The Dog” , and Hair Metal itself may indeed be the son of that bitch.

 

Musical geneology wise, I consider “Hair Of The Dog” a proto Hair Metal song. It was early Hair Metal before it’s time and before there was even a genre label for it. You can hear the Dan McCafferty Nazareth stamp a decade later on hair metal bands like the following to name a few:

Cinderella (“Nobody’s Fool”, “Gypsy Road”, “The Last Mile”),

Britny Fox (“Long Way To love”, “Girlschool”)

Kix (“Don’t Close Your eyes”, “Cold Blood”)

 

Britny Fox even did a cover of “Hair Of The Dog.” The Hair Metal vocal stylings on “Hair Of The Dog” were a stray puppy back in the 70’s and that spandex & aqua net Lassie came home to the Hair Metal 80’s. Hair Metal may have started with “Hair Of The Dog”, and Hair Metal itself may indeed be the son of that bitch.




“Hair Of The Dog” is such a cool tune Guns N’ Roses also did a version of it on their 1993 cover tunes album The Spaghetti Incident? Axl actually wanted Nazareth to play at his wedding but for some reason, they turned down the request. Sometimes life is a son of bitch even for rock stars.

 

But let’s not let that stop us from playing…(Cowbell and drumroll)

The 6 Degrees of Axl Rose!!

Kevin Bacon won’t mind nor call his lawyer so here goes:

 

Nazareth was a hard rock band from Scotland. Axl Rose often wears a kilt, the paragon of Scottish men’s fashion.

“Hair Of The Dog” has cowbell; Gun’s N’ Roses “Nightrain” has cowbell.

“Hair Of The Dog” has the word “bitch” in it; Guns N’ Roses “It’s So Easy” has the word “bitch” in it as well.

Nazareth was where Jesus lived and he was crucified on a cross. Axl and the members of Guns N’ Roses were also positioned on a cross on the Appetite For Destruction debut album cover.

Nazareth scored their biggest success with “Love Hurts” first recorded by The Everly Brothers. Axl Rose dated the daughter of one of The Everly Brothers (Erin Everly, daughter of Don Everly). The lyrics of Guns N’ Roses biggest hit, “Sweet Child O’ Mine” are about Erin who also stars in the music video.

Both Nazareth and Guns N’ Roses had their biggest success connected to The Everly Brothers.

 

Pretty freaky actually Eh? All this from a Scottish band who named themselves after some random place in Pennsylvania. By the way, the slot is still open for band to name themselves “Winslow” after Winslow, Arizona mentioned in The Eagles song “Take It Easy.”

 

I’ve been to Winslow, and on the famed Route 66 going through downtown, there’s actually a “Standing On The Corner Park” with a red flatbed Ford truck parked by the curb and a mural on the adjoining building facade with an eagle perched atop.

 

Perhaps Nazareth, PA could up it’s tourist magnetism quotient by having an “Fanny” to take a load off, public benches with seated Fanny statues for selfies, or better yet, install “Entering Nazareth Pennsylvania—Sons of Bitches Welcome” signs on all major throughways entering the town.

 

On a side note, if this is the same “Fanny” Freddie Mercury sang about in “Fat Bottomed Girls”, she REALLY gets around, having showed up in two different rock songs on both sides of the Atlantic.

 

In the meantime, wake up and smell the cowbell not the cowpie like I was forced to in rural Pennsylvania.

 

“Hair Of The Dog” is good ‘ol slutty 70’s rock at it’s finest. It’s another Rock ‘n’ Roll parlay into taking the law into your own hands like Alice Cooper’s “No More Mr. Nice Guy.”

 

Nazareth cut the ties, disregarded leash laws, and marked it’s territory on a few pop charts around the world with this cowbell classic.

 

And now we know who let the Hair Metal dogs out and who ate the homework of the Paperback Writer.

© Composer Yoga


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Hair Metal Heaven: Cinderella “If You Don’t Like It”

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Primal Scream Therapy: Deep Purple “Woman From Tokyo”

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Closet Singles: Bihlman Bros. “American Son”

 

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The Eagles Tickets

Closet Singles: Hall & Oates “You’ll Never Learn”

This is the inaugural installment of a segment where we’ll highlight songs that “Coulda been a contender.” Don’t feel sad there Marlon Brando, you WERE a contender having been mentioned in David Bowie’s “China Girl.” These are songs we refer to as “Closet Singles” and aim to sing their praises and give them a coming out party almost as good as Diana Ross could.

 

What usually happens with a musical duo is one becomes the lead vocalist in the eyes of the public, or as in this case, Private EyesSimon & Garfunkel, Loggins & Messina, Hall & Oates.

 

This holds true even if the other part of said duo CAN and does sing. Even so if the duo records albums with each trading lead vocals on various tracks like Hall & Oates regularly did on their albums.

 

Why does this happen? Well, with hit singles, record company marketing and desire for ROI (Return On Investment) heavily influence this.

 

Once a song becomes a major hit, that’s the lead singer—that’s the map, the formula: repeat the previous success in the future for their bottom line as well as for listeners wanting to hear the next song by whatever act with that same lead vocalist.

 

Strangely, Hall & Oates first well known single, “She’s Gone” off their 1973 album Abandoned Luncheonette was with John Oates on lead vocals and Daryl Hall secondary.

 

Technically, it’s actually a dual lead vocal line in the verses—Daryl doubles John with a falsetto but since it’s high and thin aurally, John’s deeper voice takes precedence in the auditory foreground then they trade for a “call and response” chorus.

 

A few years later however, after “Sara Smile” and “Rich Girl”, their first number one single, it was pretty much all singles with Daryl Hall on lead vocals and John Oates as backing vocalist.

 

Record companies use the same formulas of established success within bands as well as in the industry as a whole—think boy bands and rest assured, there’ll be new ones for every generation. They might even outlive cockroaches & Keith Richards.

 

They also follow this template with previously successful artists—they re–market, repackage, resell “them”, that style to new generations. An example of this is Lady Gaga.

 

When I first listened to her Born This Way album, a woman I worked with asked me what I thought of it. My first reaction was “They’re Madonna songs sung by someone else.” I could totally see why Lady gaga was being backed by and was a priority artist on a record company’s roster.

 

You can see and hear how they follow previously successful formulas and sign artists that fit this sound/style and/or groom their talent pool more in that direction because they do not want to take chances. Taking chances is a business risk and they want a sure predictable return on their investment.

 

So it is with the first hit single—for Daryl Hall & John Oates it was “Sara Smile” with Daryl Hall at the helm. It seems “She’s Gone” just wasn’t a big enough single to perk their ROI radar. If it had, they’d have been looking for the next single with John Oates on lead vocals, and that’s where this installment of Closet Singles comes to the much belated rescue.




That song is “You’ll Never Learn” which is also off the same album as their first #1 single “Rich Girl”—their 1976 release Bigger Than Both Of Us. If you love Hall & Oates like I do, you’ll love this song. It’s another great example of John Oates the vocalist, how there was another “She’s Gone” in the batting cage, waiting to get another chance at bat to become a hit.

 

“You’ll Never Learn” showcases John Oates’ range and intensity alongside solid lyrics and orchestration. His vocals on this capture that sublime sense of awe—his nuance and tasteful use of falsetto makes this melody soulfully soar:

“You’ll Never Learn” is a flat out great Hall & Oates song that never met the airwaves—it’s a great song for ANYONE that few people know about.

 

Now picture a Parallel Pop Song Universe. Imagine if John Oates was a solo artist and released “You’ll Never Learn.” If you have hairspray induced amnesia or if I used The Force and made you forget Hall & Oates, what would your impression of this song in that context be?

 

I can say if this was a song I heard on the radio or saw on MTV, Solid Gold, The Midnight Special, Dick Clark’s American Bandstand, etc., back then, I definitely would have bought the hypothetical John Oates album She’s Gone And You’ll Never Learn it was off of.

 

Which brings us to another point—The dynamics of a duo are different: Batman is more likely to have a successful solo career than Robin.

 

Think about bands that have/have had one or more lead vocalist:

Chicago
The Eagles
Kiss
Fleetwood Mac
Journey
Toto




These are just some well known ones that come to mind. Notice how it’s more permissible and acceptable to vary vocalists with the industry and audience AS A BAND than if you are known and billed as a duo?

 

In the case of Fleetwood Mac, it’s not only 2 different female vocalists, but also a dude in the mix: Lindsey Buckingham. They had songs chart with each different vocalist including songs with split vocals like the anthem “Don’t Stop” off their Grammy Award winning Rumours album.

 

Following this strategy and seeming recording industry/audience loophole, say for instance the songwriting duo Hall & Oates called themselves by a band name instead. I mean Steely Dan was mainly 2 guys and could have went by the duo name Becker & Fagen.

 

Lets work some revisionist history magic and say Hall & Oates called themselves by what they coined their own style of songwriting & music: Rock N Soul. Since they were from the Philadelphia area, let’s add that to the mix as well. So they are now known as “Philly Rock & Soul” after Marty makes it back in Doc’s DeLorean or PRS for short.

 

This is assuming Paul Reed Smith guitars (PRS) doesn’t have a problem with that. What then? Well now the duo bias and audience ADD is removed and PRS can have hit singles with more than one vocalist doing leads. Furthermore they can each have successful solo careers afterwards like Don Henley, Glenn Frey, Stevie Nicks, Lindsey Buckingham, Peter Cetera, Ace Frehley, etc.

 

…And they can all live happily ever after with Rich Girls.

 

So if Batman & Robin should happen to read this, they should call their band the “Caped Crusaders” instead of “Batman & Robin” ensuring both may have successful solo careers sans capes, masks & spandex later on in the Gotham City music scene.

 

Perhaps they could even do a cover of Steve Miller’s “The Joker.”

© Composer Yoga


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Swiss Time Was Running Out For Deep Purple And The Pet Shop Boys

Question: What do Deep Purple and the Pet Shop Boys have in common? Give up? Outside of both being British musical groups, they both mentioned Lake Geneva lyrically in respective songs…

 

And for good reason: Geneva, Switzerland is a stunningly beautiful European city.

 

When you’re coming in for a landing in Geneva, the Jet d’Eau (water jet in Lake Geneva) can be seen high above the buildings in the city. It’s an amazingly magnificent sight to see a fountain launching water 459 feet into the air from an airplane.

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Geneva is a very clean sophisticated city offering that “walk around and explore” intimacy and old world charm and character of many European cities which I love.

 

And all this is set on the doorstep of the European Alps like a living Ricola commercial—so remember to pack that long Alphorn for a jam session at the base of the Matterhorn.

 

You can tell you’re nearing the Alps from the air when the rivers below turn a crystal clear translucent glacial blue color more magical than Elvis’ bathwater.

 

Known as the “Peace Capital” as well as a top financial center in Europe, Geneva ranks high among cities having the highest quality of life in the world—it’s also one of the world’s most expensive cities.

 

Geneva is located on the western side of Lake Geneva at it’s southernmost point. This body of water has been made famous in the realm of popular music in the following songs:

 

1. Smoke On The Water (Deep Purple)
2. West End Girls (Pet Shop Boys)

 




Smoke On The Water

“Smoke On the Water” came out in 1972 off their Deep Purple’s Machine Head album which was recorded in Montreux, Switzerland. It remains Deep Purple’s most successful album to date, and also includes the tracks “Space Truckin'” (obviously requiring pricier fuel than the Grateful Dead’s “Truckin'”) and the indomitable early metal classic “Highway Star.”

 

I can attest to the pure unbridled mayhem of playing “Highway Star” in a few classic rock bands. It’s one of those tunes you save for later in the night to kick everyone’s ass before last call.

 

At all our strategic band setlist negotiations, our drummer would jokingly declare at the outset “Highway Star stays or I go.” Indeed. It’s such a fun, full out balls to the wall tune to play live. I still remember Jon Lord’s scorching Hammond B3 organ solo and break into it now and then while practicing.

 

Ritchie Blackmore’s classically influenced guitar work provides a look into a guitarist’s style before the Yngwie Malmsteen neo–classical revival and Van Halen’s two handed tapping technique became the new upgraded mainstay for the instrument—a technique embraced (sometimes bear hugged to death) by the Shredders and Hair Metal monsters of the next decade.

 

“Smoke On The Water” is one of the most identifiable riffs ever. Ritchie Blackmore created this simple anthemic rock riff that even those who are NOT guitarists can learn in 5 minutes. It’s based on perfect fourths played across two guitar strings which one can play with just one finger. It’s simplicity however does not erode it’s granite like staying power and appeal to multiple generations of musicians and fans.

 

Ian Gillan goes right for the Lake Geneva jugular in the first verse of “Smoke On The Water”:


We all came out to Montreux
On the Lake Geneva shoreline
To make records with a mobile
We didn’t have much time
Frank Zappa and the Mothers
Were at the best place around
But some stupid with a flare gun
Burned the place to the ground
Smoke on the water, fire in the sky

 

For those unfortunate souls who’ve never seen Beavis and Butt–Head “Dunt Dunt Dah…” this classic rock anthem, the first part of the post title here is a lyric from “Smoke On The Water” as well.

 

Montreux, where “Frank Zappa and he Mothers were at the best place around” (casino gigs paid well back then too) is located on the eastern most side of Lake Geneva. But as the story goes, unfortunately “some stupid with a flare gun burned the place to the ground…”

 

Right in the middle of a gig too. A fan with a flare gun inside the theatre set off the fire. Fire bad. Fan stupid.

 

Zappa and the Mothers lost their equipment and the Casino de Montreux went up in flames. Hence the song title from bassist Roger Glover as members of Deep Purple saw this incident from their hotel across the lake.

 

The Casino de Montreux was where Deep Purple originally planned on recording their Machine Head album. The casino reopened a few years later and there’s a sculpture commemorating Deep Purple and “Smoke On The Water” next to the lake—it even has the notes of the riff on it to survive the Zombie Apocalypse or should those Zombies have a 2112 moment and decide to rock out.

 

The monument is also next to a statue of legendary Queen frontman Freddie Mercury who had a home in Montreux.

 




West End Girls

The Pet Shop Boys Neil Tennant and Chris Lowe hold the distinction of being the most successful duo in UK music history (oh just over 50 million albums sold). They’re kinda like the Hall & Oates of Great Britain and at least one of them is a Maneater I hear. Coincidence?

 

“West End Girls” was a single off the Pet Shop Boys 1986 album Please. The track charted on both sides of the pond. Please also spawned several other hits for them including “Love Comes Quickly,” “Suburbia”, and “Opportunities (Let’s Make Lots of Money),” which by now that prophetic Pet Shop Boys tune has come to fruition and then some.

 

When I was in London, I made sure to wander all those sections of the city connected to famous pop songs including the West End. Maybe someday there’ll be a bus tour—a Magic Bus tour to take fans to all these places.

 

Love may come quickly but the Lake Geneva reference comes later in “West End Girls”:

In every city, in every nation
From Lake Geneva to the Finland station
(How far have you been?)

 

Anyone catch the Chevy Chase Fletch movie ad in this video? It’s around the 2:57 mark, right before Neil sings about Lake Geneva in the last verse.

 

So what have we learned from this musical meandering? In conclusion, even a blind Aristotle, or one playing Fifty Shades of Plato can see the causal connection between success in the music industry and mentioning Lake Geneva in a song.

© Composer Yoga


Related Posts To Check Out:

Primal Scream Therapy: Deep Purple “Woman From Tokyo”

Awesome 80s Albums You May Have Overlooked

Convincingly Sung By A Gay Man: Freddie Mercury (Queen) “Fat Bottomed Girls”

Eddie Van Halen’s Pure Gargantuan Nastiness

 

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Closet Singles: Hall & Oates “You’ll Never Learn”

George Michael: The Careless Whisperer

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Closet Singles: The Outfield “New York City”

 

 

 

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