Category: Playlists

Another mix of melodic, ready-to-enjoy pop music. This month’s mix does have a couple political songs, but not ones that get too preachy. There’s also a good variety including bubblegum, classic rock, show tunes, and the usual pure pop.

Listen on Spotify

The Orion Experience — “Emerald Eyes” (2011)

Musically, the Orion Experience embrace the immediate pop giddiness of 1970s bubblegum. On one hand, they’re quite clever with their lyrical updates, which project a kind of urban, hipster feel. On the other, I can easily imagine that if someone hears this song in 40 years time, they’ll say, “Getting a guy’s name tattooed on your wrist? That’s so 2010s.”

Paul Kelly — “Before Too Long” (1986)

This Aussie gem is power pop perfection in the interplay between guitar and piano, the strong melody, and the harmonizing with the female vocalist near the end. And how about that middle eight? It’s not showy, but it does everything that a good middle eight should. It ups the emotional ante a bit and the sproingy guitar flourishes add a not unpleasing discordant touch.

Bleachers — “Alfie’s Song” (2018)

I’ve kept an eye on Bleachers, mainly because of Jack Antonoff’s involvement with the dearly departed fun.. And while they’ve had a few good songs, there’s an almost aggressive quality to their ’80s tribute-ness that I find off-putting — too many huge drums and shouty, staccato vocals. But “Alfie’s Song” is something different. It’s still retro, but with a wider and better range of influences. There’s a Paul Simon calypso quality, as well as a admirably restrained Clarance Clemmons-style sax. As usual, the mode is triumphant, but the prettier instrumentation and wash of “ahh-ahh-ahh” backing vocals tone it all down a bit. More of this, please!

Bob Seger — “Still the Same” (1978)

Here’s this month’s obligatory classic rock song that people will scoff at, yet I will insist is good if you give it a chance. The hook is simple, but unforgettable. And Seger’s portrait of an unrepentant gambler is just vague enough that nearly everyone can read someone they know into the story. I’ve always particularly liked the “only bluff you couldn’t fake” line, as it implies some kind of vulnerability to this otherwise cold-blooded character. Shout out to the ladies singing back-up vocals on this: Venetta Fields, Clydie King, and Sherlie Matthews. They were some of the best in the business at that time.

The Killers — “Run for Cover” (2018)

I always forget whether The Killers are British or American, but this Springsteen pastiche leaves no doubt. It’s a big, hooky, sing-along anthem — The Killers’ bread and butter. There’s some political stuff in there, including the reference to “fake news” and the line “Are your excuses any better than your senator’s?” But I get the sense that the song is more personal, perhaps only hinting that that bad behavior of politicians has begun to seep into our own relationships.

Kirsty MacColl — “Free World”

Kirsty MacColl’s “Free World” is so perfectly melodic, beautifully sung, and lyrically sharp that it actually makes me like a political song. It helps that “Free World” doesn’t feel like a lecture, but rather an impressionistic dystopia brought about by credit cards and free trade. The high note on “I wouldn’t tell you/if I didn’t care” is gorgeous, as is the way she lets it linger even as the next chorus kicks back in. That’s Johnny Marr on guitar too.

Frank Turner — “1933” (2018)

Again, political songs work best when they’re not lecturing you. Frank Turner avoids this on “1933” by mixing anger with a kind of throwing up of hands. What is there to do but hit the bar? I like the bit about the Greatest Generation being pissed at recent events, and I’ve often had a similar thought myself — though I suspect that’s mainly wishful thinking. If nothing else, the anger gives Frank something to get riled up about, a good turn around from his slightly boring previous album. Compositionally he’s spot on as always, with hooks that would make Brittney Spears proud, dressed down in punk camouflage.

Mike D’Abo — “King Herod’s Song (Try It and See)”

This is such a weird song to like. Despite not being a practicing Catholic for many years, I feel somehow disrespectful enjoying this musical interpretation of Herod mocking Jesus. Yet, I’ve been listening to it all the time lately, along with other highlights from the Jesus Christ Superstar soundtrack. Translating Herod into the modern archetype of a sleazy, overly-tanned rich guy who treats Jesus like a performing seal is just one example of why the whole Superstar thing works. The vaudeville idiom hammers home the sideshow vibe, in addition to being super catchy. (By the way, I’ve been working on this mix for a while, and it’s a total coincidence that I finished it on Easter. I will be DVRing the live Superstar tonight to see how Alice Cooper does with this one.)

The Cleaners from Venus — “Clarendon Lane” (2000?)

Just a jaunty little tune conjuring up a psychedelic streetscape circa 1968. What I like about Martin Newell is that he’s an underground figure, but the chief quality of his songs that they’re readily enjoyable.

Sloan — “Right to Roam” (2018)

Every song written by Sloan’s Jay Ferguson has the dusty glow of a sunbeam streaming through an open window. “Right to Roam,” from Sloan’s upcoming 12th album, has an easy melody, Anglo-pastoral themes, and some great handclaps. You’ve got to love a song that can incorporate the words “Marquess of Anglesey.”

Blossoms — “I Can’t Stand It” (2018)

Blossoms are kind of just your basic Brit rock band wearing a lot of ’80s and ’90s influences on their sleeves. But as usual their strong melody writing and perfect arrangements result in an infectious, classic-sounding track.

Sheryl Crow — “The First Cut is the Deepest” (2003)

“The First Cut is the Deepest,” written by Cat Stevens and recorded by countless others, has a melody that conveys sadness so much more viscerally and directly than its somewhat confusing lyrics ever could. I like Crow’s version, because her vocals have a straightforwardness that doesn’t rely on theatrics to get the point across, which is what this song needs. She’s probably one of the most underappreciated artists of the ‘90s.

fun. — “Why Am I the One?” (2012)

While it has its virtues, fun.’s Some Nights album has already begun to sound dated — the one exception being this blessedly auto-tune free ballad. It’s the song from the album that wouldn’t have been completely out of place on either of Nate Ruess’s previous pop opuses, and it’s almost certainly near the top of my best of the 2010s list (a list I am uniquely unqualified to write). The melody is one for the ages, the arrangements bring the right amount of drama, and the middle eight so good that I’m always mad it doesn’t get fully repeated when that little teaser comes at the end. To paraphrase Nick Hornby, it’s the kind of big, emotional ballad that makes you want to sing with your eyes closed, and I’m glad Fun had one last chance to write the kind of uncool, revealing track I love them for.

Lately I’ve been feeling more excited about unearthing gems from the past than finding brand new songs, and this mix reflects that. The ’70s have really risen to the top, and I’ve got a couple ’80s forgotten favorites too. There’s something intoxicating about hearing a song you know well, but haven’t heard for a long time. It’s a perfect mix of familiarity and novelty at once. Maybe you will experience that here.

(Spotify)

1. Plastic Bertrand — “Ça Plane Pour Moi” (1977) I heard this song in two unrelated contexts in the span of a few days earlier this month. How had I never heard it before? It’s pure, inane glee with a super sax riff, a “whoo-ooo-ooo-ooo” vocal hook, and nonsense French lyrics. Reading attempted translations on the internet is pretty fun.

2. They Might Be Giants — “All Time What” (2018) I got to see TMBG live in January, and at this point I consider them a better live band than anything else. They played this track from their new album, and its hooky, power-pop sound was pretty rockin’.

3. Dean Friedman — “Ariel” (1977) Another 1977 lost classic, Dean Friedman’s “Ariel” seems like it has to have been an influence on They Might be Giants, Fountains of Wayne, Ben Folds, and other power-poppers who are able to successfully incorporate quirky humor into their lyrics. Each verse ends with an impeccably delivered punchline. Musically, the soaring chorus and rock ’n’ roll sax solo make this more than just a novelty.

4. John Fogerty — “Rock and Roll Girls” (1985) I’ve been sold on the concept of Fogerty as pop for a while, thanks to this excellent compilation, which kicks off with his lesser-known track “Almost Saturday Night.” “Rock and Roll Girls” might not be quite as good, especially the chorus, which just feels like it needs a little something more. But the melody on the verse, especially yelp/yodel on the high note (“ro-DE-oh,” ra-“DE-oh”), just about makes up for it.

5 .Rick Springfield — “I’ve Done Everything for You” (1981) I saw the name of this song printed somewhere and the whole thing just came flooding back to me in big rush. It’s odd because I have absolutely no recollection of a time in my life when I was listening to it regularly, but apparently I must have been because I know all the words. I think it’s straight up better than “Jessie’s Girl,” but then again it might just be benefiting from not being overplayed for years. Bonus trivia: This song was written and originally performed by Sammy Hagar.

6. Belle and Sebastian — “The Same Star” (2018) “The Same Star” is probably the best track to come from B&S’s recent EP series. I love Sarah Martin songs, and this one has her trademark vocals that are lovely and dreamy, but not slight.

7. P.M. Dawn — “Art Deco Halos” (1998) While I’d say that Spotify has had a net positive effect on my music listening, one of the downsides is that songs and albums not available on the service tend to fall out of my listening rotation. That’s particularly sad in the case of “Art Deco Halos,” which is one of my longest-lived favorite songs, dating back to when I used to listen to a radio show called Idiot’s Delight with Vin Scelsa. While P.M. Dawn is known as a hip-hop act, this track is a perfect mixture of soul and pop, with its T. Rex sample, danceable beat, and catchy chorus. I particularly remember host Vin playing this in a set with The Bongo’s cover of “Mambo Sun” and “I Wanna Be Like You” from The Jungle Book. Luckily, “Art Deco Halos” is back on Spotify and on a whole playlist of music from this era of my life.

8. ELO — “Rockaria!” (1976) For all I know this could be an abomination to opera lovers everywhere, but I find Jeff Lynn’s ability to combine not only rock and classical, but also country, disco, and just about everything else good about the pop era into a single song exhilarating. I’ve been having a bit of a renaissance for A New World Record in general. It maintains this remarkably high level of quality throughout.

9. The Kinks —“(Wish I Could Fly Like) Superman” (1979) Low Budget is actually an awesome, under-appreciated Kinks album. Like a lot of rockers in 1978-79, the Kinks found a little disco influence on “Superman,” and it really works for them. The song opens with that great buffeting riff that can also be heard on “Edge of Seventeen” and “Eye of the Tiger.” (Is this the earliest use of that? I’m not sure.) Ray’s dry, everyman humor is a treat as well: “I want to fly, but I can’t even swim.”

10. Sylvan Esso — “The Glow” (2017) I’d venture to say “The Glow” is up there with “Alex Chilton” in terms of songs that capture the feeling of truly loving music. It’s apparently about an album by the band The Microphones, who I’m not familiar with, but the warmth and joy it conveys could equally well describe any formative music listening experience. That huge, low keyboard note is like a sonic hug, and the line “I remember the glow/Not from a phone” give it just the right twist of nostalgia.

11. Marmalade — “Reflections of My Life” (1969) It’s a pretty gutsy move to write a pop song with the lyrics “The world is/A bad place/A bad place/A terrible place to live/Oh, but I don’t want to die.” It suggests that the world is so depressing that wanting to die is kind a given — and thus conveys a default nobility in the act of just staying alive. There’s a depth here that goes beyond an overwrought pop ballad. The minor key vocal harmonies really up the poignancy levels too.

12. Billy Joel — “Rosalinda’s Eyes” (1978) Freaks and Geeks has the best soundtrack of any television show I can think of. The songs chosen are never the ones that I would pick, yet they work perfectly, giving the show and its music a highly personal quality. “Rosalinda’s Eyes” is a deep cut from 52nd Street and one of three Billy Joel songs that appear in the episode “Carded and Discarded.” It plays as the geeks spend an enchanted afternoon with Maureen, a fun and pretty new girl they’ve befriended, but who they know is too cool to stay friends with them for long. I’m honestly hard pressed to say exactly why the song fits the scene so well, but it’s got a kind of crisp, open quality the seems to match the blue-skied day, as well as a lurking hint of something unattainable. The whole package is about as close as you can get to feeling what music means to someone else.

When I first thought about doing a top songs of 2017 post, I was a bit underwhelmed. I felt like my list focused two much on late career albums from artists I already liked, and there was a dearth of full albums that really blew me away. Still I made a list anyway and realized I wasn’t completely right in my assessment. My top ten included tracks by Portugal. The Man, Alvvays, and Ed Sheeran. Plus, some of those late career albums are really good, especially Sparks and Noel Gallagher. In the end, when I listened to the playlist, I really enjoyed it.

I also realized that 2017 was very much a year of pop music discovery for me, even if it wasn’t always new. I read Bob Stanley’s Yeah! Yeah! Yeah!, as well as a third of Scott Miller’s Music: What Happened? Both of these unearthed lots of older songs that I hadn’t heard before. 2017 was also my Year of the Bee Gees, and I can’t think of any two albums I enjoyed so much as Mr. Natural and Main Course. So I added a “side 2” to my playlist that includes my top ten new-to-me tracks for the year. With that in place, it felt better, fuller representation of my year.

So here are my top tracks of the year, along with one-sentence mini-reviews for each one. The Spotify links are for expanded playlists that include my top 20 in each category.

Best New Songs of 2017

1. Portugal. The Man “Feel It Still”: Commercial but deserving, “Feel it Still” was instantly identifiable as a hit — and it makes me happy to know that a hit song can still be a good song.

2. Lindsey Buckingham and Christine McVie “Feel About You”: There’s a lot to love, but possibly the best touch is the little two-note guitar build up to the chorus (runner up: marimba solo).

3. Alvvays “Dreams Tonite”: The line “Counting motorbikes/On the turnpike/One of Eisenhower’s” evokes a wistful blend of nostalgia and infrastructure.

4. Noel Gallagher’s High Flying Birds “She Taught Me How to Fly”: I’m still obsessed with the melody on the lines “It doesn’t matter what your faith is/I see you praying all the time” — it’s also classic atheist Noel singing about God.

5. Sparks “I Wish You Were Fun”: Super catchy and humorous, but with a hint of darkness that bubbles up in a few minor key piano notes.

6. Wesley Stace “The Wilderness Years”: The line “Open your eyes up to love” achieves a musical opening up that feels like the heart of the song.

7. Josh Ritter “Showboat”: Josh Ritter is simply a pro; witness the hooks, the conceit, and the powerhouse coda on “Showboat” if you have doubts.

8. Circa Waves “Stuck”: This is a great, angry pop vocal, especially the snarl on the line “I fucked it up so much.”

9. Ed Sheeran “Galway Girl”: Cheesy, maybe, but Ed Sheeran has a way of connecting with the listener on each and every song, and that’s probably the key to his success.

10. Morrissey: “Spent the Day in Bed”: “Life ends in death/So there’s nothing wrong with being good to yourself/Be good to yourself for once.” Thanks for the reminder, Morrissey.

Listen on Spotify

Best New-To-Me Songs of 2017

1. The Bee Gees “Mr. Natural” (1974): The Bee Gees have pretty much ruined me for harmonizing by most other groups — just listen to the word “again” in the chorus of this song.

2. The Isley Brothers “Summer Breeze” (1973): I love the Seals and Crofts version, but the Isley Brothers electrify it literally and metaphorically.

3. Danny Wilson “Mary’s Prayer” (1987): The start of the second verse sounds like the clouds parting and the sun streaming in.

4. Steely Dan “My Old School” (1973): Among the many, many achievements Steely Dan should be lauded for is their excellent use of backup singers — the “whoa no” at the start of the chorus is tremendous.

5. Gilbert O’Sullivan “Out of the Question” (1972): O’Sullivan has a way with phrasing that really comes through on lines like “Don’t think that I don’t know/I do” — you can absolutely picture that line accompanied by raised eyebrows and a tilt of the head to one side.

6. Barry Ryan “Eloise” (1969): So emotional that’s it’s embarrassing, but glorious nonetheless.

7. Elaine Paige and Barbara Dickson “I Know Him So Well” (1985): This song makes me want to pound my chest like Celine Dion while singing along.

8. The Bee Gees “Come on Over” (1975): I’ve really grown to love a Robin lead vocal: weird, tenuous, beautiful.

9. Prefab Sprout “Appetite” (1985): Super smooth, great backing vocals, and evocative lyrics: “Wishes she could call him heartache/But it’s not a boy’s name.”

10. Kylie Minogue “Step Back in Time” (1990): More than just nostalgia, this song celebrates the fact that our musical past is always there for us; the lines “Remember the old days/Remember the O’Jays” have real warmth and joy to them.

Listen on Spotify

This month’s mix turned out to be a classics sandwich on 2017 bread. I usually like to have more integration between old and new stuff, but this one just seemed to flow best this way.

(Listen on Spotify instead.)

1. Public Access T.V. — “Metrotech” (2017) A catchy, funky new single with a definite BADII vibe, which of course I love.

2. Taylor Swift — “Call It What You Want” (2017) I don’t really have a fully-formed opinion about Taylor Swift’s new album. I didn’t like the first single, and I haven’t listened to the whole thing yet. But I do like at least this one song, which is little more in the vein of 1989. It has a sparse backing track similar to “Wildest Dreams” and a catchy chorus. The line “My baby’s fly like a jet stream” is also very good.

3. Noel Gallagher’s High Flying Birds — “She Taught Me How to Fly” (2017) Noel’s new album, Who Built the Moon?, has proven quite a success. “She Taught Me How to Fly” is probably one of my two favorite tracks. The B part is the purest Noel Gallagher melody on the album, particularly the line “I see you praying all the time.” I’m not sure how to describe what’s going on there, but it’s the kind of thing that hits you right in the chest.

4. Teleman — “Bone China Face” (2017) I really like this group, they manage to mix melody and compelling lyrics with a modern electro sound.

5. Eddie Kendricks — “Son of Sagittarius” (1974) This song is a teaser for a larger project I’m working on that involves listening to a lot of songs from 1974. Kendricks was one of the lead singers of the Temptations, and he had a reasonably good solo career in the ‘70s. He’s got an awesome falsetto, and one has to imagine this track sounded a lot more modern and cool than the Temptations concurrent mix of increasingly clunky message songs and bland balladry.

5. The Doobie Brothers — Long Train Runnin’ (1973) I have a theory that music listening goes through three stages: 1) The naive stage where you just hear songs and like them without much reflection; 2) The self-aware stage where you start rejecting songs for being too mainstream or accessible; and 3) The full-circle stage where you begin to really understand that some of the songs you rejected are in fact good, despite the fact that they regularly get played at the grocery store. I’m definitely at Stage 3 when it comes to classic rock, and I have an unexpected new appreciation for the Doobie Brothers. “Long Train Runnin’” rocks pretty hard and it’s got a killer harmonica solo.

6. Fountains of Wayne — “Supercollider” (2003) One of my favorite bands (Fountains of Wayne) doing a straight-up pastiche of one of my other favorite bands (Oasis). It’s a wonder it took me so long to realize it. I wrote a more in-depth discussion of this critical issue earlier this month.

7. Allo Darlin’ — “We Come From the Same Place”(2014) I really miss Allo Darlin’. I recently listened to their final album for the first time in a while and was reminded of how much I love their ability to be open and vulnerable in their music. I was lucky enough to see them perform in Chapel Hill, NC, when they played to a crowd of about 30 people on a Monday night. Singer Elizabeth Morris had a self-possession about her that was very striking — I suppose you need that to write the kind of songs she does.

8. The Seekers — “Georgy Girl” (1966) Do you ever have this experience where there’s a song that’s sort of on the periphery of your listening universe, but you dismiss it until you learn that someone whose taste you respect really likes it. Then it just explodes into your consciousness like, “Oh right, this is good.” That’s what happened to me with “Georgy Girl” after reading about it in Scott Miller’s Music: What Happened?

9. Adam Schmitt — “Can’t Get You On My Mind” (1991) Adam Schmitt is a mainstay of power pop comps for a reason. “Can’t Get You On My Mind” is a classic of the genre both in terms of melody and the way the titles flips a cliche. I came across it on a random thing called “Power Pop Box” that’s on Spotify. It’s got quite a good track list and is also a steal on Amazon ($8.99 for 47 songs) if you’re still the buying type.

10. The Magic Gang — “Alright” (2017) This band can’t lose. They’re continuing proof that basic rock music still works as long as the hooks are there.

11. Sparks — “What the Hell is It This Time?” (2017) “What the Hell is it This Time?” is a great title for a song regardless of what it’s about. But of course Sparks come through in that respect. I love the idea that God is sitting around getting irritated at people’s low-priority prayers: “If Arsenal wins, he really don’t care.”

November’s Sounds Delightful mix developed an unplanned theme that might be best expressed by the title of one of its tracks — what is hip? Is it a band created solely for a TV show that became an enduring cultural force? Is it an established rock musician coming out with an upbeat joyfest that’s been compared to Ricky Martin? Is it a very ’90s mix of country and dance? Is it a band that unabashedly embraces gentleness? None of these things might typically called hip, but they all make for wonderful pop music.

(Listen on Spotify)

Sparks — “I Wish You Were Fun” (2017)

The central theme of “I Wish You Were Fun” is pretty much what it says on the tin. What makes it great is the way Sparks cycle through so many rationalizations for why this lack of fun is not a problem: “No one ever changes/Why even bring it up,” “You know she’s from somewhere where/Authority ruled supreme,” “And maybe you’re fun in subtle ways/Too subtle for me.” But in the end it’s no good. To add insult to injury, the song itself, with its jaunty piano and “la la las,” is most definitely fun. The thought of either of the Maels ending up in this un-fun relationship is — to allude to another song on their new album Hippopotamus — a bummer.

The Monkees — “Take a Giant Step” (1966)

A Goffin/King deep cut from the Monkees’ first album. “Take a Giant Step” follows in the footsteps of songs like The Beatles “There’s a Place” and The Beach Boys’ “In My Room,” which take pop music to a more self-aware and reflective place.

Parthenon Huxley — “Bazooka Joe” (1994)

This month I broke out one of the classic Yellow Pills compilations for the first time in a while. Straight up power pop is not a genre that’s generally aged well for me, but when the melodies and lyrics are strong, it’s still pretty great. “Bazooka Joe” scores on both counts. The melody is lovely and plaintive. Similarly, the words are searching and bittersweet, pondering the ways that “We find convenient truth/in whatever we choose” — whether that be a gum wrapper or perhaps, metaphorically speaking, pop music itself.

Noel Gallagher’s High Flying Birds — “Holy Mountain” (2017)

Noel has been promising that his next album will be a rocker, and the first single delivers. “Holy Mountain” has got a wall of horns, whistling, some “ooh ooh ooh” backing vocals, and it’s all about the glory of love. Apparently some fans are mad that the chorus bears a similarity to the Ricky Martin song “She Bangs.” I have no problem with that.

Tower of Power — “What is Hip?” (1973)

I remember hearing “What is Hip?” during my high school days listening to Vin Scesla’s Idiot’s Delight. I don’t know a lot about Tower of Power, but I like the fact that Wikipedia describes them as “an American R&B-based horn section and band” rather than the other way around. The early ‘70s were clearly a peak time for horns. The title question of this song also resonates with me, as evidenced in the themes of this blog.

Shania Twain — “That Don’t Impress Me Much (Dance Remix)” (1997)

“That Don’t Impress Me Much” hit its peak on the Billboard Hot 100 in June 1999, when I was sixteen. That’s an age when even songs you don’t particularly care about lodge themselves permanently in your brain. A couple weeks ago, I listened to a HAIM cover version. I thought it was kind of an inspired choice, so I went and listened to the original. While I could sing along with every word, I was not prepared for the ridiculous ‘90s dance backing track! It’s like Cher’s “Believe” meets something just barely country, yet the abundance of hooks and Shania’s performance make it work. There’s no way that her little trick of letting her vocal slide from singing into talking hasn’t been a huge influence on Taylor Swift. (Edit: This is actually a dance remix, not the original track.)

The Bee Gees — “I Can’t Let You Go” (1974)

I finally reviewed my favorite Bee Gees album, Mr. Natural, earlier this month. “I Can’t Let You Go” has probably the most compelling melody on the a whole album, with a kind of vortex effect that mirrors the nature of this obsessive love affair.

Elvis Costello and the Attractions — “Party Girl” (1979)

This deep cut from the excellent Armed Forces album is an embarrassment of songwriting riches. There are literally only three lines repeated in the whole song, and the rest is bursting with words and wordplay — from the juxtaposition of “party girl” and “party, girl” to the inversion of “grip-like vice.” It’s also totally catchy and wonderfully produced by Nick Lowe.

Belle and Sebastian — “I’ll Be Your Pilot” (2017)

“I’ll Be Your Pilot” is one of the singles from Belle and Sebastian’s forthcoming 3-EP set, the awesomely titled How to Solve our Human Problems. I think it might be advice given by a parent to a child, but in any case, it’s tone of gentle comfort seems to fit in well with Stuart Murdoch’s statements about the project being a statement against anger. I continue to be amazed by the way these guys stay relevant and keep up the high level of quality.

Scott Gagner — “Someone” (2017)

A classic pop sound, totally carried by the quality of the songwriting. Same goes for Gagner’s full album, Pins & Needles. The female backing singer, whose name I couldn’t find, deserves some serious credit for the success of this project as well.

Martin Newell — “Wow! Look at That Old Man” (2007)

I’ve been enjoying Martin’s Newell’s “Oddcast” on Mixcloud. It’s very eclectic, and Newell is as charming as you’d expect him to be. He shares a great story about “Wow! Look at That Old Man” in episode 15, which details how a small child saw him riding his bike and said those words. The song has a bit of a ‘50s doo-wop vibe and a hammy vocal, and it’s a lot of fun.

The Commodores — “Easy” (1977)

I’ve only just realized how much I love this song. Lionel Richie can be forgiven pretty much any ’80s absurdity for giving us the wistful dignity of “Easy.” The middle eight is the high point of the song. It takes it up to another level of emotion and features a great, slightly feedback-y guitar solo. If you normally hear “Easy” on the radio, make sure to stick it out for the full album version. It’s got a little key change on the final chorus that’s missing from the radio edit, and it totally makes the ending.

I’m pleased with this month’s mix. I think it has a nice flow, and it brings together many  of the things that I’ve been enjoying — and that have been influencing my music listening — this month: Scott Miller’s book, Music: What Happened?, the return of Pseu’s Thing with a Hook, the great BoJack Horseman on Netflix, and finally some new contenders for favorite album of 2017.

Listen on Mixcloud:

or on Spotify.

Beck — “Up All Night” (2017)

I’m glad that Beck is willing to release a pice of candy like “Up All Night.” It’s hooky with a disco beat and synth strings straight out of “Call Me Maybe.” The middle eight is even reminiscent of the middle eight from Taylor Swift’s “Shake It Off.” I was also amused that a DJ on our local alternative station (I believe seriously) suggested this track as “Song of the Fall.”

Alvvays — “Lollipop (Ode to Jim)” (2017)

Alvvays’s new album, Antisocialites has turned out to be a really good start-to-finish listen. “Lollipop” is a shimmering, frantic piece of power pop. It’s in part an “Alex Chilton”-like ode to Jim Reid of The Jesus and Mary Chain, and the song opens with a little bit of feedback as a fitting tribute. It also seems to describe a chaotic relationship, and it’s got some striking, idiosyncratic lines that really jump out, like “You grabbed my wrist and said you liked my keychain.”

Skeeter Davis — “Let Me Get Close to You” (1964)

I’ve been slowly making my way through Scott Miller’s book, Music: What Happened? (It takes a while when you end up listening to every song.) As I make my way through the ’60s, I’m discovering some gems — a real treat, since I already consider myself pretty well-versed on that era. Miller describes this song as “sweet, charmingly plain,” but with a “mysterious lure.” One of the things I like about his commentary is that he often seems to struggle just as much as me to put his finger on what makes one song sparkle, while another one falls flat. There’s no doubt this one is a winner though.

Old 97’s — “Roller Skate Skinny” (2001)

Writing my post about past musical loves inspired me to listen to some Old 97’s this month. “Roller Skate Skinny” really holds up well. It’s twangy, yet poppy, and is filled with more clever, vivid lyrics than any one song really has a right to. This one deserves a top 5 best lines:

5. I believe in love, but it don’t believe in me
4. You’re gonna wake up with a ghost instead of a guy
3. Love feels good when it sits right down, puts it feet up on a table, and it sends a bowl around
2. Every other day is a kick in the shins/Every other day it’s like the day just wins
1. Do you wanna meet up at the Pickwick Bowl/We can knock nine down and leave one in the hole

The Sneetches — “Over Round Each Other” (1991)

One of the best things that’s happened so far this fall is the return of Pseu’s Thing with a Hook on WFMU! This show really influenced me to do my radio show and to continue with this blog. Power pop is only one component of Pseu’s show, but when she plays it, she always manages to find some gems that transcend the sometimes-boring confines of the genre. This song from ‘80s/‘90s obscurities The Sneetches has a spiraling quality to its lyrics and melody, balanced by not one, but two great middle eights. Jangle perfection.

The Lemon Twigs — “Why Didn’t You Say That?” (2017)

The Lemon Twigs are the most recent torchbearers for the kind of exuberant, baroque arrangements embraced by Jellyfish and early fun. Their melodies can be a little spotty, which prevented me from really loving their debut as a whole. But this track from their forthcoming second album manages to get the hooks right, along with some fanfare and a nice minor-key middle eight.

Morrissey — “Spent the Day in Bed” (2017)

Morissey’s new single is an ode to the mental health day, but it’s got a serious side as well. His advice to “Stop watching the news!/Because the news contrives to frighten you/To make you feel small and alone/To make you feel that your mind isn’t your own” is one of the most piecing and relevant things I’ve heard in a song recently.

Orange Juice — “Rip It Up” (1982)

“Rip It Up” is an amalgamation several great elements that you wouldn’t necessarily think would work together: funky Genus of Love synths, an over-the-top ’80s sax solo, and a slightly gloomy post-punk vocal.

ABC — “When Smokey Sings” (1987)

Sometimes I think it’s easy to call something cheesy as a way of distancing oneself from an expression of emotion that is so personal and unguarded that it’s actually a bit embarrassing. “When Smokey Sings” falls into this category. How can you really describe the feelings you experience when you hear you favorite music? It’s hard, and you might resort to saying something slightly ridiculous like “I hear violins.” I applaud ABC for recoding something so revealing and doing it with such panache.

Jane Krakowski and Colman Domingo — “I Will Always Think of You” (2017)

One of the best things about the current Golden Age of Television is that it gives us shows like BoJack Horseman that can be funny, inappropriate, absurd, existential, and sad — all while remaining completely watchable. Then, just to polish it off, the show’s like, “Let’s just have our writers come up with a little original song and get two broadway stars to sing it perfectly. No problem.” “I Will Always Think of You,” which appears in a Season 4 episode that flashes back to BoJack’s grandparents during World War II, sounds like it could have come right out of that time period, and it’s lovely. The episode it’s part of is exquisite as well.

Hector and the Leaves — “Call You Up” (2017)

I got a chance to interview Tom Hector, the man behind Hector and the Leaves, for my old radio show a couple years ago. One of the things that stuck with me from our conversation  was how much he likes making EPs, because they feel like a better space for playing around with things like little instrumentals and demo-ish bits of songs. Tom’s new EP, Interiors, definitely has this feel. “Call You Up” is probably the most polished track on the EP, which I tend to like, but the whole thing’s got great melodies and an Elliot Smith vibe.

The Go-Betweens — “Quiet Heart” (1988)

I wish I had the vocabulary to explain how a melody can so effectively convey a feeling of longing. No matter how many times I hear the wistful beauty of “Quiet Heart,” — well, for lack of a better explanation — I hear violins. Literally, in this case, as the song has a lovely string section. It’s also got a mournful harmonica solo that rounds out the overall mood.

The Clientele — “Museum of Fog” (2017)

The Clientele’s Music for the Age of Miracles is another new album I’ve been enjoying. “Museum of Fog” is a spoken word piece, and its story has a dreamlike quality that’s kind of like a gentler David Lynch movie. Some of the phrases just sound wonderful spoken in a soft British voice: “I left the towpath as the light began to fade,” “The jukebox still boasted a 45 by Twinkle, thirty years after it dropped out of the charts.” The background music is a dreamy wash of sound, with some chiming, plucked guitar notes coming through. The overall effect is that doesn’t exactly make sense, but still means something.

Or listen on Spotify

This has not been a banner month for blogging, as I was out of town 17 days between August 1 and today.  However, I did manage to scrounge up a monthly mix, held together with some great new singles and a number of favorites. I’m influenced this month by seeing Belle and Sebastian live, revisiting one hit wonders from Pilot and Macy Gray, and nurturing a burgeoning interest in songwriter Jimmy Webb. I’ve got one more trip left to go, then I hope return to more regular writing later in September. Until then, enjoy!

Culture Club — “Church of the Poison Mind” (1983)

My husband and I have developed an interesting shorthand for talking about a band’s hit songs. We call their most well-known single their “first song” and work our way down the line. “Church of the Poison Mind” is Culture Club’s “third song,” but based on quality it probably deserves to be their second — definitely ahead of “Do You Really Want to Hurt Me?” but ambiguous in relation to “Karma Chameleon.” In its favor, “Church of the Poison” mind is really catchy, it’s got a harmonica solo, and back-up vocalist Helen Terry basically steals the show.

Jellyfish — “Joining a Fan Club” (1993)

Jellyfish’s Spilt Milk album never gets old for me. “Joining a Fan Club” is everything that makes the band great: bombast, melody, and a great pop vocal. Lyrically the analogy between pop music and religion is brilliant. The top five lines from this song:

1. If you wanna go to heaven, all you gotta do is pay to pray
2. Filling my bathtub with t-shirts and 8x10s (or holy water and amens)
3. He turns me on when he wears that lampshade crown of thorns
4. I wished I’d loved him/Before fate crashed his car
5. I still get heartburn when I think about all of the stamps I ate.

Alvvays — “Dreams Tonite” (2017)

I was vaguely aware of this Canadian group’s debut a couple years ago, but the singles from their forthcoming second album have really caught my notice. “Dreams Tonite” has a slightly dreamy quality, but not so ethereal that it just drifts away. The middle eight especially is a little more weighty, with its short, punchy lines. Looking forward to this full album.

The Clientele — “Everyone You Meet” (2017)

The Clientele’s new singles have also been excellent. They too tend to play a pretty dreamy brand of pop, so this track is downright upbeat for them, with a great understated horn line.

Pilot — Magic (1974)

A “Mr. Blue Sky”-esque Beatles ripoff, “Magic” is simply a joy. It’s probably the best song that could ever appear on one of those solid gold hits of the ’70s compilations (which I love). I recently learned that Pilot actually has one other good song (“Just a Smile”), but this one really can’t be topped.

Belle and Sebastian — “The Boy With the Arab Strap” (1998)

One of the highlights from the Belle and Sebastian concert I attended last month (also the subject of the only blog post I managed to complete last month). It’s odd to hear a song this gentle named for a sexual device (you can look it up, it’s not gross or anything), but it’s not about that either. It’s got handclaps, a recorder solo, a jaunty piano, and a kind of shuffling beat. It’s also surprisingly good to dance to.

The Who — “The Quiet One” (1981)

I finally got around to listening to the full album of Face Dances. “You Better You Bet” is my favorite Who song (and one of my overall favorite songs), but the album itself it a bit of a mixed bag. “The Quiet One” is the next strongest track. It’s an introvert anthem, written and sung by John Entwistle. The Wikipedia article for the song features a great quote from Entwistle, who was apparently known for being the quiet one of the Who: “I wrote ‘Quiet One’ especially to replace ‘My Wife’ onstage. I had gotten tired of singing that and ‘Boris the Spider.’” I love how he could barely be bothered to write this song.

Josh Ritter — “Showboat” (2017)

This new single from Josh Ritter makes good use of the classic pop trope of hiding your tears in the rain. (See also The Everly Brothers’ “Crying in the Rain” and the Bee Gees’ “Mr. Natural,” which I’m now sort of wishing I had included on this mix.) I’ve gotten into this groove with Josh Ritter where end up liking one song from each of his albums. When he’s in this tight, poppy mode, he’s unstoppable. But his slower, folkier songs just don’t really do it for me. The coda is the best part of this song, and it reminds me a little of the middle eight from “Dreams Tonite.”

Jake Bugg — “How Soon the Dawn” (2017)

I tried to like Jake Bugg’s previous two albums, but they never really took for me. This new single is very promising though. It’s closer to the new Clientele song — or maybe even to Donovan — than the harsher, Dylan-esque vocals of his earlier albums. The guitar playing is lovely too, and guitars are usually about the fifth thing I notice in a song.

The Junior League — “Please (I Need You To)” (2015)

A pure pop ditty with plenty of jangle and falsetto. I don’t know a lot about this group, but both Scott McCaughey (of the Minus 5) and Jay Ferguson (of Sloan) were involved with their album — some pretty good pop bonafides.

Macy Gray — “I Try” (2000)

Every time I hear this song I think to myself, “What a perfect song! What a perfect one hit wonder!” The arrangement is so smooth, especially the transition from the opening strings to the poppier notes of the first verse and that great little pause on the word “stop.” (With all due respect to Elvis Costello’s “Alison”). But despite all this, I then proceed to not hear the song again for the next five years. Why is it not on the hits station every day? Surely it could be played in place of, say, “I Want to Know What Love Is.” Maybe now I will to listen to it more.

The Monkees — “You and I” (1969)

Released after The Monkees tv show was cancelled and Peter Took quit the band, “You and I” manages to be remarkably good. Oh yeah, it also features Neil Young on guitar.

Johnny Maestro and the Brooklyn Bridge — “The Worst That Could Happen” (1969)

I’ve always loved this song. I have this really fond memory of hearing it and thinking to myself “I love this song.” Then about two seconds later, my dad said, “I love this song.” It somehow made me feel really close to him. I also recently learned that it was written by Jimmy Webb of “MacArthur Park” and “Wichita Lineman” fame. While it’s not as as weird as the former or as exquisite as the latter, it might still be my favorite Webb track. I like the mix of the blue-eyed soul vocals with the adult contemporary arrangement. It’s also lyrically compelling, though the singer comes off as a jerk. Webb is a guy who doesn’t shy away from writing an unlikable narrator, and it works for him.

Or listen on Spotify

Janet Jackson — “Miss You Much” (1989)

Fantastic in every way: danceable, hooky, and making good use of some of fun pop tropes, like the stutter and spelling out of words. Despite the “miss you” sentiment, the overall feeling is more like triumph at having a lover so damn missable. My husband and I theorized that “Miss You Much” might actually be in the top five of songs by any Jackson. The music video is spectacular as well. The dancing of course is the highlight, but it’s also in that sweet spot where a mainstream video could be polished and classy without descending into bland slickness.

HAIM — “Little of Your Love” (2017)

The first three songs on the new HAIM album are all excellent (though it does become a little same-y after that). They have a way of squeezing a lot of words into the main hooks of their choruses that I really like. “Little of Your Love” has some creative touches, including the weirdly effective slowed down backing vocal and the a cappella breakdown near the end. A lot has been made of Fleetwood Mac’s influence on HAIM, but the little “ha”s that punctuate the song remind of nothing so much as the Spice Girls’ “Wannabe.”

Lindsey Buckingham and Christine McVie — “Feel About You” (2017)

It’s pretty unbelievable that these two could put out a new album in 2017 and have it be so listenable. “Feel About You” is a particular treat, joyous, romantic, sparkly, pure pop. This track is a good reminder that McVie might be the most underrated of the Fleetwood Mac songwriters — not as clever as Lindsey or a cultural signifier like Stevie. Yet she’s responsible for the monster hooks on songs like “Don’t Stop” and “Little Lies,” and she clearly hasn’t lost her ability to please. There’s some filler on the album, but it’s got a solid 3-4 really good songs in addition to this one.

Richard X. Heyman — “So What” (2017)

Richard X. Heyman’s classic rock-influenced tune is full of good cheer and humor. The bright trumpet and “so what” lyric combine their powers to deliver maximum exuberance. Richard tells listeners how they can learn from his example of what not to do when it comes to love — but he doesn’t sound too broken up about his past mistakes either. I also love the off-kilter little guitar solo about two-thirds through.

Fountains of Wayne — “I-95” (2007)

Only Fountains of Wayne could make the phrase “Guns ‘N’ Roses album covers” sound as good as it does here. And the second verse nearly lulls you into believing you’re experiencing something grand, the melody and the starry night sky opening up around you — until that van cuts you off and you realize you’re actually just on the highway after all. Their ability to write melodies is astounding, really, and their harmonies are just as good.

Declan McKenna — “Humongous” (2017)

“Humongous” is the latest single by Declan McKenna, an 18-year-old who is a bit of an indie sensation in the UK right now. His debut LP, What Do You Think About the Car?, was just released and hit number 11 on the British charts. “Humungous” is super melodic with the compelling hook “I’m big, humongous, enormous, and small/And it’s not fair.” The last minute or so is an unexpected synth freakout and brings in a totally new, equally good melody. His album isn’t quite up to this standard through, but it shows promise.

Cliff Hillis — “Superfluous” (2017)

“Superfluous” has a gentle sound, with almost a ’70s soft rock vibe at the beginning. The song has nice build, though, and by the end it feels a little meatier. Hillis is quite a good lyricist in general, and he has some fun with words here on the beginning of each chorus: “superfluous,” “magnanimous,” “fathomless.” This song is from a new EP called Many Happy Returns that’s full of thoughtful, singer-songwriter pop.

St. Vincent — “New York” (2017)

Despite her indie-level popularity, I really haven’t listened to much St. Vincent. When I first heard “New York,” I thought it was Sam Phillips (of Gilmore Girls “la-las” fame). So I have no idea if this song is consistent with her other work. But it’s really striking, with the chorus cutting like a machete through the sad and lush arrangement. It’s also a gem at 2:34. It seems you rarely hear anything that short anymore.

The Bee Gees — “I Started a Joke” (2017)

Eeerie, sappy, baroque, obtuse — “I Started a Joke” is the epitome of the early Bee Gees. Robin’s vocal is weird, but beautiful, and the lyrics only make sense on a kind of mythic, nonverbal level. I love it.

Gilbert O’Sullivan — “Out of the Question” (1972)

I discovered this track thanks to an artist playlist that singer-singer John Wesley Harding posted on Spotify. (These playlists can be serious treasure if you’re willing to dig for them. This feature is a great example of Spotify’s potential for human-driven music discovery and their lack of interest in doing more with it.) O’Sullivan has wonderful delivery and is, in a word, charming. The end bit has a “song that never ends” quality, spiraling around until you’ve lost track of where it even began. The lyric “She’s breaking my heart/Nearly every day/Not only in pieces/But every way” is actually kind of dark. I’m imagining some evil genius of heartbreaking coming up with ever elaborate plans to destroy poor Gilbert.

China Crisis — “Arizona Sky” (1986)

“Arizona Sky” seems to be at least in part a song about travel — a British band singing about Arizona, New York, Venice. I like the line “It took my breath away/That doesn’t happen every day.” It has a sincerity that’s possibly at odds with the chorus — “Decorate, paint it for the union/No reason to give up on the illusion. I can’t actually come up with a cogent interpretation of these lyrics, but musically the song’s tone is also a balance between cheery and melancholy. The horn arrangement is a nice mix of trumpet and saxophone.

Ricky Ross — “Soundtrack to the Summer” (2005)

Another discovery courtesy of people curating their favorite music on the internet — this one from a terrific Mixcloud show called Daily Robbo Radio. Ross is the singer from the Scottish band Deacon Blue. This is a nice twist on the idea of the summer song. No convertibles or bikinis here — only a wistful lyric and the saddest Brian Wilson harmonies.

Melanie C — “Independence Day” (2002)

I wrote about Mel C, my favorite Spice Girl, earlier this month. She’s had a number of good moments over the years, but this deep cut from the Bend It Like Beckham soundtrack is probably the best. It’s still girl power, but cast in a more shimmering, power pop light.

The Sounds Delightful Mixtape brings together eclectic pop spanning genres and eras. And July’s mix is about as eclectic as it gets. Hear the summer’s best new hit, plenty of British indie,  some ’90s noise, a little power pop, and more than a little ’80s schmaltz. It’s all tied together by great hooks and melodies.

YouTube | Spotify

Portugal. The Man — “Feel It Still” (2017)

This is one of those songs that you hear on the radio and after 15 seconds you’re like “what is THIS??” Just instantly hooky and memorable. “Feel It Still” has already hit number on the Alternative and Adult Alternative charts and debuted at number 89 on the Hot 100 this week. It deserves to be the kind of huge pop crossover that even old people know, a la Pharrell’s “Happy.” But even if it doesn’t get that far, it bolsters my faith in music to know that a song with guitars and horns and soulful vocals can still be at least a minor hit.

Lemonheads — “Different Drum” (1990)

“Different Drum” is a pop classic and endlessly coverable. I discovered The Lemonheads’ version only recently, and it inspired a whole blog post on the topic. This version juxtaposes the song’s catchy melody and quirky lyrics with some early ’90s-style guitar feedback. I also love how Evan Dando sings the lyrics without swapping the genders from the female-sung Stone Poneys’ version.

The Kooks — “Be Who You Are” (2017)

I feel like I rarely see great reviews for The Kooks — they’re always accused of shameless ‘60s throwbackism. But I’m a sucker for that sound, and while I’ve never listened to them as a fan, I do tend to like the songs I hear. “Be Who You Are” is a new single released as part of their new best of comp. It’s got some nice singalong “da da das” at the beginning, a strong chorus, and a compelling middle eight that slows things down a bit.

Danny Wilson — “Mary’s Prayer” (1987)

“Mary’s Prayer” sounds like its going to be kind of terrible at first, like “Walking in Memphis” or something. But then the chorus comes in and it just transcends. It’s everything a great chorus should be: a simple two-note hook that you will remember after just one listen and a fullness on the harmonies that seems to escalate the song to a new level of emotion. The lyrics are a bit of a mishmash of romantic and religious imagery, and I’m not actually sure if this song is happy or sad — but it’s hard to deny it has a kind of exuberance that’s irresistible.

Elaine Page and Barbara Dickson — “I Know Him So Well” (1984)

This song is from the original soundtrack to Chess, a concept album/musical from the ’80s with songs by Benny and Bjorn from Abba and lyrics by Tim Rice. It’s about a chess match between a Russian and an American, and I believe the two ladies who sing this duet are both in love with one of the guys. It’s a little hard to follow from just the album. But it doesn’t change the fact that this song is a fabulous ballad. It’s rare that you hear a duet between two women, and Page and Dickson ace it, both belting out their parts and weaving their backing vocals beautifully around the main melody.

Eliza Doolittle — “Pack Up” (2010)

A gimmick that works. “Pack Up” mixes some Lily Allen-style British sass with a pre-rock’n’roll pastiche of blues, soul, jazz, and/or show tunes. At least I think so. I’m not an expert on any of those styles, but it sounds like this song is just sort of throwing together a bunch of vintage sounds with the goal of sounding generally old-timey. The result is cheerful and upbeat pop that stands out.

Liam Gallagher — “Wall of Glass” (2017)

Not writing his own songs might be the best thing that Liam Gallagher has ever done. It worked with Oasis, and Liam’s new single gives some indication that it might work again as he teams up with songwriting pro Greg Kurstin. “Wall of Glass” manages to balance a slightly more commercial approach with the Liam’s classic snarl and brashness. I was pleasantly surprised.

Kylie Minogue — “Hand on Your Heart” (1989)

I’ve been getting into Kylie a bit lately. She’s got a lot of distinct phases in her career, and she seems to be surprisingly well-regarded critically for a the type of pop star she is. “Hand on Your Heart” is from her third album. At this point, she was being produced by a British hit factory called Stock, Aitken, and Waterman (aka SAW), known for churning out dozens of hits in the late ’80s and early ‘90s despite the obvious cheapness of their sound. “Hand on Your Heart” is a good example of how melody and delivery can help a song rise above it’s limitations.

Neon Waltz — “Heavy Heartless” (2017)

Neon Waltz is a young Scottish band who have had a string of strong singles. They have a knack for Noel Gallagher-ish poignant melodies and have actually opened for Noel — a pretty solid endorsement. “Heavy Heartless” is their latest and will be featured on their debut LP, out later this summer. With its depressive lyrics and dirge-like pace, it’s a good wallowing song should you need it.

Circa Waves — “Stuck” (2017)

“Stuck” is an angsty, energetic rocker from Liverpool-based Circa Waves. This is a song about stagnation and frustration, and impassioned vocals convey those feelings in a visceral way. The word choices here are also perfect for showcasing the band’s Northern accents (“stook,” “loove,” etc.), which adds a certain charm.

The Magic Gang — “Your Love” (2017)

The Magic Gang continues their streak of highly enjoyable singles. “Your Love” has a bit of a swing to it, as well as a tiny twang on the guitar that makes them feel a little less aggressively British than many of their peers. The chorus here has a singalong feel, a sound that’s quickly becoming a trademark for the band. I’ll be curious to see if they can sustain their success on a full-length album, but there doesn’t appear to be any definite news of one yet.

Simon and Garfunkel — “At the Zoo” (1967)

Whenever I’m just randomly strolling around a city taking in the sights, I always think of myself as on a “fine and fancy ramble,” even if I’m not going to the zoo. I love the juxtaposition of the urban and natural environments in this song, as well as the crazy characterizations of all the animals. “At the Zoo” is a perfect mix of melody, imagery, and whimsy.

The Hangabouts — “Evelyn Wood” (2017)

The truest power pop song on this month’s mix, “Evelyn Wood” definitely owes a lot to Fountains of Wayne with it’s slightly gravely vocals and 70s AM-inspired sounds, particularly on the guitar solo in the middle eight. The lyrics include plenty of idiosyncratic details and quite cleverly can be either metaphorical or about actual speeding in a car. I particularly like the line, “You swore you’re slowing down/Then I saw you on the cover of Motor Trend.”

Kirsty MacColl — “You Caught Me Out” (1979)

Kirsty MacColl’s back catalog is a treasure trove. I’m always stumbling upon songs of hers that I haven’t really given proper attention to before. “You Caught Me Out” probably escaped my notice because it’s the last track on her Stiff Years compilation. This is Kirsty in pure pop mode, but the song unfortunately lost out on any chance of becoming a hit as she left Stiff Records shortly after it was recorded. It’s got a shimmering chorus, some ooh-ooh-oohs, and a rockin’ backing track courtesy of some Stiff regulars.