Monday, January 13, 2020

"(What's So Funny 'Bout) Peace Love and Understanding" / Brinsley Schwarz

Shopping in Trader Joe's yesterday, I wasn't paying much attention to the muzak. Why should I? And when this song came on, I immediately assumed it was Elvis Costello's cover of this Nick-Lowe-penned tune on Elvis' 1979 album Armed Forces. After all, that's the version most people know.

But no, as I pushed my cart around, listening intently, it was clearly not Elvis singing. The tempo was a tick slower, the guitars a tad twangier. And listening to the phrasing and intonations, I was more and more certain: This was the Brinsleys' 1974 version.


I'm willing to bet that I was the only person in that crowded Trader Joe's who could tell the difference, or who cared. And, PS, I completely forget to get the avocados I meant to buy, I was so transported.

Quite possibly the muzak provider opted for the Brinsleys' version because it was cheaper. By the time Elvis covered this song, the Brinsleys were on their last legs, and anyway the band had never thought much of this number. (To be honest, Nick Lowe himself thought of it as a throwaway satire on hippie culture.) But EC's resurrection of the song proved prescient, and in the decades since then, the song has shown surprising legs as an anti-war anthem.

And -- in the who-laughs-last category -- Curtis Stigers' 1992 cover of this song for the movie The Bodyguard earned so many $$$ in royalties, Nick Lowe could go ahead and make any number of gorgeous albums he might not otherwise have made.

For this alone I am grateful.

So where are the strong? And who are the trusted? And where is the harmony (sweet harmony)?

Right here, my brothers and sisters...


Wednesday, November 27, 2019

"Thanksgiving Day"/ Ray Davies

I'd like to think that Ray Davies did this on purpose -- sat down and thought, "What holiday doesn't yet have too many songs written about it?" And when he realized how few Thanksgiving songs there are, he decided to write one, hoping for that late November airplay.

I'm not much of a radio listener, so I don't know whether his stratagem worked. But I do know that this has become my go-to song for the Thursday before Black Friday.


But trust Ray Davies not to slack off, to keep at it until that song had some meat on its bones. And of course, as he homed in on the holiday, he just couldn't help himself: Instead of going all sentimental, which would have been the obvious easy choice, instead he made it about loners and misfits -- the universe Ray understands best -- struggling to find their home against all odds.  The feast they find isn't Hallmark-perfect -- no Martha Stewart perfection, no Instagram fantasy -- but it's what they need.

If you want to know more, here's what I wrote about this song a few years ago.

But maybe it's enough just to listen. Having just come back from a four-day Kinks trip to London (of which more soon), for now I'm happy to let his songs simply melt into my consciousness.  

Happy Thanksgiving everyone!

Sunday, October 20, 2019

"Keep It To Yourself"

Amy Rigby/Marti Jones

Well, here's a tale. I was in the gym the other day, dialing up my Latin Groove playlist to accompany my stationary bike ride, when this song cycled up (no pun intended). I thought to myself, "Oh, hello, I never noticed before how sly this song is, pairing that langorous bossa nova beat with such deliciously nasty female snark. This just has to be Amy Rigby, right?" So I fumbled with the damn iPod holster, dropped it, accidentally fast-forwarded, yadda yadda yadda, only to finally read on the playlist that this was a track by the lovely Marti Jones, from her delectable 2014 album You're Not the Bossa Me. 

Which, by the way, I highly recommend.* 

But I digress. As it happens, I downloaded my version of You're Not the Bossa Me, and my music library therefore doesn't show composer info. (GRRRrrr....). No biggie, I guess, to the kids. But it kept nagging me. I knew that Marti's album came to my attention in the first place because the wonderful songwriter Bill DeMain had co-written some tracks on it, and I began to suspect he'd had a hand in this track, too. I just had to know.

And when I reached out to Bill, he confirmed that, yes, he'd co-written "Keep It to Yourself" . . . with none other than Amy Rigby. 

Go figure.



 Amy's version, a demo track, only appeared on her 2002 anthology album 18 Again -- and I'll confess, I have that album, I've got that track in my library, I should have recognized it immediately. Mea culpa. But the good news is that this made me appreciate this wicked little song all over again.

The premise is dead simple, laid down in verse one. She's got a new boyfriend -- a good one this time -- and, to prove his fealty, he's tilting at her windmills. "You say you'd like to kill the man who broke my heart," she starts out, sounding oh so modest, dismissing the idea. ("Me I'm trying so hard to forgive...")

But then comes the about face, the pivot point: Almost shyly (there's the gift of the bossa nova), she just kinda sorta mentions, "But here's his address / Here's his picture / Here's the make and model of his car." Nothing like fingering a perp. And she off-handedly supplies additional info, "He works until four-thirty / Then he hangs out at the topless bar." And with a rueful duck of the head, she adds, "With a girl on each arm / If he should come to harm -- "  The bossa beat kicks in for a pregnant pause pause, before she exhales, "Just keep it to yourself...."

I won't give away any more of the plot -- it unspools like Double Indemnity. It's a perfect storm of wit, snark, and musical style, and it makes me laugh every single time I hear it. No matter who sings it.

 * As you might be able to guess from that title, everything on this album has a bossa nova beat. Latin music 101: Bossa nova was a late 1950s-early1960s reinvention of samba, making things smoother, more chic, more palatable to PanAm sophisticates. It made samba ripe for crossover, and in the early 60s lots of UK and US artists tested the bossa nova waters -- see the Kinks "No Return" or the Beatles' version of "Till There Was You").

Saturday, June 01, 2019

Drive, She Said

"Undun" / Guess Who

Sometimes, you know, you're just in a car, styling down a highway, long trip, looking for an audio groove that'll match your driving groove. And then this thing dials up and it's such a trifecta of sounds: jazzy, mellow, yet anguished. And you tune in and think -- damn, that's one fine track.

She's Come Undun 

I realize that I have no sense of who Guess Who "is" -- Wikipedia confuses me with all the iterations of this band, with its constantly changing personnel. Some names I recognize -- Randy Bachman, who wrote this song (later to be part of Bachman-Turner Overdrive, not that I know their songs any better), and Burton Cummings, who was Guess Who's front man on this 1969 track. But after them it was a rotating cast that never seemed to add up to much.
 
And maybe because the talent was always changing, their sound was all over the place, at least from the few singles I knew. "These Eyes" sounds a bit like "Undun," but "American Woman"? "No Sugar Tonight"? Or how about their later semi-hit "Clap for the Wolfman"?

Not sure why this should matter -- shouldn't we admire bands with variety and range? But for this band, it feels as if the center doesn't hold.

Yet on this one track, all the stars must have been aligned. I love the flowing samba line of the verses, then how it pivots into something darker (almost a jazz tango) in the abrupt syncopations of the chorus: "It's too late/ She's gone too far/ She's lost the sun" -- hold it, hold it, that wicked pause . . . . and then, diving back into the verse, "She's come undun." Shout out, by the way, to the percussion, which underscores all this, tripping lightly in the verses, then laying down whiplashes in the chorus. And dig that flute solo in the break -- Cummings, apparently, who knew?

I like, too, how the verses deepen. At first, the girl seems reckless, shooting too high, going off course. But in verse three, we learn it's not her fault: "She wanted truth and all she got was lies." It's quite possible the songwriters just ran out of convenient tropes, but for me, that verse rescues the song. The girl's no longer at fault, the world is.

This song is full of questions, which is one of the things I love about it. Yeah, I know, that could just be sloppy songwriting, but as a listener I'm hooked. Who's singing this song, and what's his relation to the girl? (If he's a boyfriend, he's an ex, I imagine, regretting that he couldn't save her. It's just as likely a brother or a friend.) What is this "sun" she's lost? (Her sanity? Her faith? [Bachman was a Mormon].)

And most important, what does "undun" mean? As a spelling person, for years I was bugged by this song title (HOW HARD WOULD IT HAVE BEEN TO SPELL IT "UNDONE"?!) and I still can't quite buy into the deliberate misspelling. But that obscures the question: Is this about a runaway, a bad acid trip, a nervous breakdown, a suicide? The darkness of the choruses, plus Cummings' heartfelt wail on the last "She's come undun" makes me fear the worst.

I've been listening to this song for (on and off) 50 years and I still haven't solved it. Which is a good thing.

Friday, November 02, 2018

Juliet, Naked

Okay, I finally saw it. (Pay per view alert!) I can't even explain why it took me so long, considering how absolutely this film dovetails with everything I'm about. But a few thoughts:

1. Nick Hornsby is my favorite living writer. I'm not claiming he's the greatest literary talent or anything like that, but everything this man writes makes utter and perfect sense to me. This blog owes its existence to his book Song Book; I've read everything he's published. And of all his novels, Juliet, Naked is quite possibly my favorite. (Notice how I hedge my bets, because, jeez, I love everything he's done.) Nick, if by any chance this blog post surfaces on your feed -- please do let me know. I promise I won't get weird.

2. Kinks world lives.  Casually, walking through Waterloo Station, a snippet of dialogue -- a throwaway, really, if you didn't know better -- mentions that the station is a big deal if you're a Kinks fan (KAPOW).  Later, Ethan Hawke performs "Waterloo Sunset" at a local gig, and it's almost unbearably beautiful.

3. Chris O'Dowd is so underated. So many of us have connected via fan websites; O'Dowd plays a superfan we can all identify with. I love how his passion for the music, versus his cluelessness in life, is so delicately delineated. His face registers all the nuances of a response to music that is heartfelt and yet, hell, totally beside the point. Except okay, but whoa . . .

4. And the songs? If you're gonna do a movie about an elusive rock talent, you gotta line up some quirky folks to write his songs. Monsters of Folk's Conor Oberst and M. Ward, Robyn Hitchcock, Wilco's Jeff Tweedy-- I've written about them all over the years. Click on their links in the column to the right.  This film totally gets the music right, which buys it major cred.

5. Okay, now I get Ethan Hawke. He started out so young, and so beautiful (really, those cheekbones are so unfair), I never thought much of him. It wasn't until I saw Boyhood  a couple years back that I realized he is actually an actor of a very high degree. Here he's playing a grizzled, washed-up musician who dropped out of the biz and disappeared 30 years ago, inadvertently gaining a cult following. He's a mess of a human being, and Hawke plays it to the core, never making excuses for him. All right, Ethan, now I officially forgive you for Great Expectations.

6. Gotta stand and face it -- life is so complicated. One of the things I most love about Nick Hornsby's novels is that there are no pat solutions -- lost loves lead to new opportunities, and we all pick up our sorrows and move on. I love how this film doesn't settle for a cheesy plot resolution, but still leaves us encouraged for the next chapter. Viva life!

Monday, October 08, 2018

My Birthday #1s

Happy Birthday to Me Part 3

Alas my brothers and sisters, it is all downhill from here. I've gone through the weekly charts from 1973 to the present, and there is precious little that I even recognize, let alone care about.  Granted, I was living in the U.K. in 1975 and 1976; it's entirely likely that I never even heard the hit US songs of those years. "(I did hear 1974's entry, Olivia Newton-John's breathy "I Honestly Love You," but the less said about that, the better.) And I know the music I was listening to in the later 70s and 80s just wasn't mainstream enough to produce chart-toppers. 

Still, from the late 80s on, the charts increasingly were dominated by a narrow band of music, mostly rap and R&B. In the mid-90s, my birthday singles were almost entirely either Boyz II Men or Mariah Carey, and while I have nothing particularly against either of those artists, that doesn't suggest a range of music being listened to. 

The lists from the 90s on also are remarkably short -- while earlier lists swapped in a new #1 every couple of weeks or so, signs of lively competition, these later ones are dominated by a few juggernaut hits (from mid-August 1992 to mid-March 1993, only 2 songs held the top spot -- Boyz II Men's "The End of the Road" and then Whitney Houston's "I Will Always Love You.") I'm guessing this reflects changes in the music biz more than changes in musical tastes; record companies poured all their resources into promoting a few mega-hits, in much the same way that publishers stopped buying quirky first novels and gambled big bucks on a few "name" authors. Radio stations stopped playing to the mainstream, and then all hell broke loose in the 2000s as streaming overtook record sales.

Still, here are a few October 8th #1s that I was delighted to see -- hope you're happy to see them too! 

1976: Wild Cherry, "Play That Funky Music"
Seems to me that the title leaves out the most important words -- "Play that funky music, white boy!" Because Wild Cherry was a band of white guys from Ohio, who nevertheless were able to lay that funk sound down for one of the funnest (is that even a word?) dance tracks of the 1970s. Like their Scottish colleagues Average White Band, they paid honest tribute to the funk sound, refusing to accept that it had to be ghetto-ized. In these days of the ongoing cultural appropriation debate, I'm not sure where I stand on these. But I gotta admit, when this song comes on the jukebox? I am NOT sitting still . . . 

1980: Queen "Another One Bites the Dust"
Oh, I do loves me some Queen. Shout-out to my Oxford pal Cynthia, who first got me listening to the marvelous Mr. Mercury.  And while I'd probably nominate "Killer Queen" as my fave Queen track, with "Good Old Fashioned Lover Boy" as a close second (no, wait -- how could I forget "Don't Stop Me Now"...?), well, this one's a great track. Deliciously funky, dialing back on the arena bombast of "We Are the Champions" and "We Will Rock You." Fun facts to know and tell: Queen bassist John Deacon wrote this song, inspired by the funk band Chic, and none other than Michael Jackson (a Queen fan) convinced them to release it as a single. It became the longest-running US #1 single of 1980 and Queen's top-selling single ever (and their first big US hit, which, having lived in the UK, baffled me.) What is it about? Gay cruising, trying to score weed, boxing, knife fights -- well, like a lot of Queen songs, it's about what you want it to be about. 

1982: John Cougar, "Jack and Diane"
So here I am by now, living in New York City, and damn if MTV doesn't unleash my inner Hoosier with this grainy video that just about perfectly encapsulates my conflicts about leaving the Midwest to realize my dreams elsewhere. Because to be honest, some version of me is still back at the Tastee-Freeze, sucking down chili dogs in my Bobbie Brooks....


1983: Bonnie Tyler, "Total Eclipse of the Heart"
Years ago I posted this song in an Eighties Cheese Week thread, and now I have to admit I've grown so fond of it, I'm delighted to find it popping up here. That big hair, that big rasp-edged voice, the amped-up Jim Steinman production, and even -- who knew? -- Rick Derringer, late of the McCoys, on guitar. 

1985: Dire Straits, "Money for Nothing" 
Ahh, the glory days of MTV. Loved this cynical track, a reality check on the craziness of the music industry, with Mark Knopfler's nimble, virile guitar work, slicing through the surreal mishmash with killer riffs, and Sting (another MTV-enabled star) adding his back-up vocals. How perfectly Knopfler nails the point of view of his working slobs, scoffing at privileged musicians ("that ain't working"), griping about their own daily grind ("We got to install microwave ovens / Custom kitchen deliveries"), yet envious despite themselves: "Lemme tell you, these guys ain't dumb / Maybe get a blister on your little finger / Maybe get a blister on your thumb." And there's the American dream, just out of reach: "Money for nothing and chicks for free." It's to Knopler's credit that he never seems to put these guys down; they have every right to resent the "yo-yos" they see on TV getting all the glory. They give themselves away only in the last verse: "That little faggot got his own jet airplane . . . " Even so, would they trade places with him? I'm betting yes, in a heartbeat. 

1986: Huey Lewis & the News, "Stuck With You"
Bestill my heart. Yeah, I know I've said over and over that the 80s were the decade that killed pop music, and I still say I'm right, but . . . Huey. Huey. It's a matter of public record,  my fangirl crush on Huey Lewis, even though I was by then a married lady soon to give birth to our first child. It's like the last gasp of great, upbeat, swinging pop music, with a little retro doo-wop flair; besides which, who wouldn't love this video?

 

1996: Los Del Rio "Macarena"
Bit of a time jump here, for reasons I've explained above. And yes, I suppose this was a novelty song, a throwback to the dance-craze songs of the mid-60s ("The Twist") and late 70s ("Do the Hustle"). But along with all those gyrating fembots, here come two Latino gents in suits to deliver the refrain -- "Hey, macarena!". You couldn't get away from this song for weeks that fall. It had already been a hit in Spain and Latin America a couple of years earlier, but when Miami clubgoers repeatedly requested it, a savvy producer churned out a disco-inflected version with added English-language lyrics -- and they hit the US big-time. (It took years for this to be unseated as the longest-running #1 on the Hot 100 charts. You can't help but like this song, which claims to be nothing more than a party track. Party tracks, in case you hadn't realized, are a good thing.    


2010: Bruno Mars, "Just the Way You Are" 
Quadruple-threat Bruno Mars -- singer, songwriter, producer, dancer -- restores my faith in pop music. He's brought back tempo, style, nuance, and suavity. Forget the 1977 Billy Joel song of the same title: Bruno's is so much more playful and adoring; love how it soars in the chorus. This was Bruno's first really big hit, though he's proven himself with several follow-ups. He's the real deal. Fun fact: Megan Trainor's delightful 2014 debut hit "All About That Bass" was inspired by this track.  


2011: Adele, "Someone Like You"
Yes, please. 


I suppose I shouldn't define my Adele fanship totally in terms of other singers. But let me put this out there: I've always loved her big emotional voice more than her contemporary Amy Winehouse's; and while I've gradually come to appreciate Lady Gaga, I admire Adele for not needing theatricality to sell her songs. Just stand on the stage and sing, girl. So here's my gold standard: can you deliver the same power and passion as my girl Dusty Springfield? The good news is that Adele can.

 And give the girl props for writing her own songs, out of her own emotional landscape.  (I guess I dropped this thread, but from the mid-60s on, artists who wrote their own material had so much more credibility with me.)

As a song to an ex, who seems to have moved on better than she has, it's full of passion landmines, every one of which she explodes. To me, a diva is a selfish spotlight-seeking egomaniac, and I want nothing to do with divas. For Adele, as for Dusty, the heartbreak is all too real, and close to the skin, and she's only sharing it because she suspects maybe you too have had your heart broken in just this same way.

I'm on Dusty's team, and I'm on Adele's. Dusty, sadly, is no longer with us. But so long as Adeles and Brunos still pop up from time to time,  I'll continue to care about pop music. Why not?
     

Friday, October 05, 2018

My Birthday #1s

Happy Birthday to Me Pt. 2

Now we're getting into music that really resonates with me.  It was an era in which charts and lists still mattered -- I remember staying up until midnight every New Year's Eve with my neighbor and close pal Kay Wolf, waiting to find out what was the number one song of the year.  Wonder if any of these songs was in the year-end Top Ten...

1963: Bobby Vinton, "Blue Velvet"
Another one of the Bobbys!  Schmaltz and strings again, angel-choir backing vocals, and one of the most memorable vocal swoops in all pop -- "She wore blue-oooo VEL-vet." I very distinctly remember this drippy song on the radio, and being riveted for reasons I still can't explain.


1964: Roy Orbison, "Pretty Woman"
Legit rock & roll, at last. I saw Roy Orbison perform this song on the weekly music TV show Shindig, with his black pompadour and dark glasses, coolly standing center stage, no dancing or gyrating -- and oh, that knock-out voice. This song (Orbison's biggest hit ever) was clearly about a man on the prowl (he even purr-growls at one point) -- hardly the stuff this little 11-year-old wanted to hear at the time. But I couldn't turn away from it. Mercy!


1965: The McCoys, "Hang On Sloopy"
Granted, this was a blip on the charts -- the next day the new #1 was the Beatles' "Yesterday," which I yearned to write about instead, as the first of these #1s that I actually went out and bought as a 45. However, I cannot deny the McCoys their fleeting moment in the sun (especially since they, like me, were from Indiana). I'll admit, I always conflated this song with Snoopy, the dog from the Peanuts cartoons, and with the Beach Boys' goofy single "Sloop John B," which would hit the charts a few months later. Neither a boat nor a dog, however, Sloopy was a girl from "the wrong side of town," that all-American story line. At the time, I didn't know the song's backstory -- how the Strangeloves recorded it, but, not wanting to cannibalize their still-active hit "I Want Candy" (yes, that song), hired an unknown teen band to release it under their name, flying the lead singer into New York to overdub the vocals. As luck would have it, it leaped to the top of the charts, outselling "I Want Candy" by far. Who knew? And by the way, who was that 17-year-old lead singer of the McCoys? None other than Rick Derringer, who'd later under his own name have a hit with "Rock and Roll Hoochie Koo," and who also played guitar on Bonnie Tyler's "Total Eclipse of the Heart." More than you wanted to know, I bet.
 


1966: The Association, "Cherish"
Did I own this single? You bet I did. Although it was nowhere near as great as the Association's previous hit, "Along Comes Mary," this song was probably a better showcase for their plush vocal harmonizing (the Association's raison d'etre, I realize in retrospect). "Cherish," however, was tailor-made for a 13-year-old's hopeless crushes, with lyrics like "Well I'm beginning to think / That man has never found / The words that could make you love me / That have the right amount of letters / Just the right sound / That could make you feel / Make you see / That you are driving me out of my mind..." Well, obviously, even though I cannot remember the name of my current dentist, the date of my recent brain surgery, or what pills I need to take in the morning -- even though I still have not remembered to sign up for Medicare -- I still remember every word of "Cherish." Just sayin'.


1967:  The Box Tops, "The Letter"
Oh, sweet Jesus, here it is. My Number One Favorite Pop Song of All Time Just confirming my belief that 1967 was probably the greatest year in music ever. At fourteen, I was just on the cusp of appreciating the raw urgency and heat of Alex Chilton's lead vocal. How was I to know he was barely older than I was?

1968:  The Beatles, "Hey Jude"
Iconic. ICONIC. How much has been written about this song (although, oddly, it seems I never did a post on it before)?  It was Paul's song to comfort John's son Julian on his parents' break-up; John was convinced it was Paul's blessing on his relationship with Yoko; Paul himself may have been writing about the beginning of his great true love with Linda. The fact that it is all these songs at once testifies to its greatness. I've been a Paul girl from Day One, but honestly, you don't need to be a Paul girl to know this is a genius track. Even though it was more than 7 minutes long -- unheard-of in Top Ten radio -- it held the #1 spot for nine weeks in the US, the Beatles' longest #1 streak ever. We didn't know at the time that this was the first step in the Beatles' long goodbye. (There's a whole book in that.) But hey, on my 15th birthday, how could I know that my Beatles universe was about to fall apart? All I knew was that I had better start memorizing all the nah-ne-nah-nahs, to make sure I'd get them right when this came on the radio in a carful of us true believers.
   (Hang in there on this video clip, by the way -- it charmingly messes around a bit before the song takes off.)


1969:  The Archies, "Sugar, Sugar"
Oh, Lord. Was this single the beginning of the end? A made-up band for a cartoon series based on a comic book -- and yet it hit #1? It's an earworm, yes -- but honestly, WHO BOUGHT THIS RECORD? But here it is, a milestone in bubblegum pop, proving that the music biz was still all over the map. 

1970:  Diana Ross & the Supremes, "Ain't No Mountain High Enough"
Was Diana Ross still a Supreme at this point, or not? It almost doesn't matter. Her diva status was already certified, and this overblown hit -- a remake of a 1966 Marvin Gaye/Tammi Terrell written by Nickolas Ashford and Valerie Simpson -- claimed #1 as if it was Diana's due. Man, I loved the Supremes back when they were just the best of the girl groups, but the minute Diana went diva (enabled by a smitten Berry Gordy), Motown lost whatever credibility it still had with me. I'd follow Stevie Wonder to the ends of the earth, but Diana Ross? Count me out.

1971:  Rod Stewart, "Maggie May"
Freshman year of college, and I didn't buy singles any more; I bought LPs. And I bought this one. That raspy voice, that mandolin, those whomping drumbeats -- it was loose and sexy and boozy and everything that 60s pop was not. I listened to college radio stations now, which played entirely different music; I was beginning to leave chart-based radio behind. (Though there was still a station in Springfield, MA, with a pre-programmed playlist and no DJs, that kept me listening to "Ain't No Sunshine When She's Gone," "One Toke Over the Line," Cat Stevens' "Wild World," and all the Carpenters and Three Dog Night I could handle....) 


1972: Mac Davis, "Baby Don't Get Hooked on Me"
Are you kidding me? This cheesy country-crossover hit -- another of those "men got to be free, women just want to tie you down" songs -- was definitely not on my radar; or rather, I knew it was out there and it made my baby feminist flesh creep. Wikipedia duly tells me that Mac Davis wrote both "In the Ghetto" and "A Little Less Conversation" for Elvis Presley, and that raises Mac Davis multiple notches in my estimation. But in 1972, I wanted nothing to do with it.
1973: Cher, "Half Breed"
Okay, now I'm really getting annoyed. It was the 1970s, rock music was going in a million fascinating directions, and the chart-toppers were zigging and zagging. Good stuff from Carly Simon and Roberta Flack and Stevie Wonder, but we also had Dawn's "Tie a Yellow Ribbon" and Jim Croce's "Bad Bad Leroy Brown."  Look, I'd dug Sonny and Cher when they first landed on Shindig singing "I Got You Babe," but Cher's march into diva status left me totally cold. (Am I the only person who hated the fact that she was in Mamma Mia 2?)

 
But let's be honest -- I was 21 and no longer the pop charts' target audience. (How swiftly do we reach obsolescence....). From here on in, it would be the songs I DID care about that would make all the difference. 

Stay tuned.