Written By Braddon S. Williams AKA “The Concert Critic”
On this date in history, 2/25/2020, I got to see my favorite band in the world deliver a monumental performance at Old National Centre’s Egyptian Room.
The band I’m talking about is Opeth, from Stockholm, Sweden…and they brought another excellent Swedish band along to open the show, Graveyard.
I have been lamenting the state of how too much of modern rock and metal is all starting to sound the same in the way it is produced. Graveyard was such a pleasant surprise by virtue of the fact that they sounded like they just teleported in from 1973. They had this bluesy, analog vibe that was equal parts vintage Sabbath and Zeppelin, but still sounded fresh and original. I thoroughly enjoyed their overall tone and plan to check out some of their studio work.
This was my third time seeing Opeth, and they continue to raise the bar in every possible way; sound, lights, the hilarious between songs banter (a long discussion about the Bloodbath song, Eaten, was spontaneous and lots of fun), and of course the masterful songs.
Touring in support of their latest masterpiece, In Cauda Venenum (Latin translation: Venom In The Tail), Opeth’s music is a breathtaking blend of styles generally labeled either progressive metal or progressive rock. Whatever direction the music takes, it is all played with utter precision and passion.
Each member of the band contributes so much to the overall sound. Martin “Axe” Axenrot supplies the complex drumming that drives the machine, Martin Mendez brings the melodic and powerful bass that holds everything together, Joakim Svalberg plays a wide variety of keyboards that bring in tons of ambience and emotional impact, and also contributes strong backing vocals. Frederik Akesson provides lethal lead guitar work and did much more singing at this show than I have heard him do before (and he has a great voice). Opeth’s leader and chief songwriter, Mikael Akerfeldt, completes the other half of the lead guitar tag team and serves as the amazing lead vocalist…serving up equal amounts of lush clean tones and brutal death metal growls, often in the same song.
Because of their lengthy compositions, the actual song count was relatively short, but 3 songs from In Cauda Venenum made it into the show, and all were magnificent, holding their own with such Opeth favorites as Moon Above, Sun Below, The Leper Affinity, and The Lotus Eater. An incredible encore of Sorceress and the perfection of the final song, Deliverance, put Opeth’s stage time at just over 2 hours.
I have to give a shout out to the audience, too. Everyone was quite vocal during Mikael’s speeches throughout the set, providing a lot of laughter and general happiness, which is always a great addition to a show. The overall atmosphere was pretty euphoric.
This band’s fans are passionate beyond any doubt. Opeth continues to fearlessly explore new territories and make music in their own image. It’s been over a week since the show, and I remain massively inspired!
Welcome to our “Psychedelic Lunch” series where we find out how deep the rabbit hole really goes and explore psychedelic tunes from the 60’s to today. Weekdays At Noon EST. Enjoy the trip
Listening to Kikagaku Moyo is to be lifted from your seat and thrown out of the current universe and timeline. That sounds more painful than it actually is. In reality (or maybe what we perceive as this reality), the Japanese psych-rock outfit has continually made music that not just expands outward and allows the band to experiment with otherworldly sounds but also taps into a feeling of bliss. The heavy use of sitar and the swirling, ephemeral tones of their guitars mixed with the whispery vocals coalesce to form a sound that’s just as mind warping as it is comforting.
Japanese psychedelic rock group Kikagaku Moyo present a stunning, hypnotic cover of the traditional folk song “Gypsy Davey,” as arranged by Sandy Denny’s band Fotheringay in 1970, backed with a new, original song called “Mushi No Uta.” Both tracks were recorded in 2019 at Wilton Way Studio in London, and the single features cover art by Portland, OR artist Hailee Va.
Psychic Lemon’s music is a mix of psych, krautrock and funk. Their debut album was released on Drone Rock Records last year and was well received, featuring on many end-of-year lists and receiving airplay on BBC 6 Music. Their upcoming album will be released this year on German label Tonzonen Records.
The band rehearse and record in a studio in the back of a small garden In Cambridge, five minutes down the road from Syd Barrett’s old place. The band’s influences are broad, but choice bands include Goat and Amon Düül II.
Written By Braddon S. Williams aka “The Concert Critic”
On this date in history, 2/11/2020, I started my year of concerts with an inspiring club show by Machine Head.
The Vogue in Broad Ripple, Indianapolis was the intimate venue for a rampaging 3 hour performance by the venerable metal band led by Robert Flynn.
Machine Head were in town in celebration of the 25th anniversary of their debut album, Burn My Eyes, which they played in its entirety during the second half of their marathon display of metal superiority. For me, personally, it was a revelation to see this band get such a great opportunity to stretch their musical muscles. I had previously seen Machine Head 3 times, but always as part of a festival setting, with constricted time limits. I was beyond impressed at the endurance of Rob Flynn’s vocal chords. The man has a superhuman set of pipes, and definitely wasn’t holding back at any point in the show.
During the first set, Flynn led the reconstituted lineup (last year, longtime lead guitarist Phil Demmel and drummer Dave McClain left the band) featuring Waclaw “Vogg” Kieltyka, drummer Matt Alston, and bassist/vocalist Jared MacEachern through a strong list of fan favorites that covered a wide range of material from various phases of the band’s career.
Kieltyka, a veteran of bands such as Decapitated, Lux Occulta, and Vader, was particularly impressive, playing a mixture of lead styles with ferocity, complexity, and soaring tone that cut through the mix to perfection.
Robert Flynn has grown into a pretty fierce lead guitarist, also, and he went toe to toe with his new partner in several thrilling displays of pyrotechnic guitar battles.
Flynn is a master at getting the audience involved in the action, and he had the small but vocal crowd singing along at every chance, and incited boisterous circle pits throughout the evening.
Some of the highlights from the first set included the massive opener, Imperium, savage versions of Take My Scars, Beautiful Mourning, Locust, I Am Hell (Sonata in C#), Aesthetics Of Hate, Ten Ton Hammer, and Halo. My personal favorite was Darkness Within, where Flynn strummed chords and delivered a 7 minute speech that began on a lighthearted note and gradually became a passionate description of the power that music has to lift us out of depression, eventually beginning the song on solo acoustic guitar and then building into a colossal crescendo of power from the full band, ending with the entire audience vocalizing the melody of the song under Flynn’s direction…a totally breathtaking experience.
After Halo closed the first act on an amazing high note of musical bliss, Flynn brought out original Machine Head members Logan Mader (lead guitar), and Chris Kontos (drums), to pulverize the faithful with a blistering gallop through Burn My Eyes.
Kicking off with the massive tour-de-force Davidian, through other ragers like Old, A Thousand Lies, None But My Own, Blood For Blood, and I’m Your God Now, Machine Head consistently played as if they were headlining a stadium gig instead of a less than capacity club. Before the crushing finale of Block, Flynn and the boys treated us to a medley of Metallica, White Zombie, and Slayer classics that comprised Welcome Home (Sanitarium), One, Seek and Destroy, Thunder Kiss ’65, South Of Heaven, and Raining Blood, that was pure magic!
At the end of the show, Machine Head brought out bags full of guitar picks commemorating the event, and made sure that most of the crowd got at least one. In truth, we got much more than that. We got an evening with a band that proved their love of music beyond all doubt, and delivered a performance of phenomenal power.
“Candy apples and razor blades, little dead are soon in graves / I remember Halloween / This day anything goes, burning bodies hanging from poles / I remember Halloween!”
Thus cried Glenn Danzig in the classic Misfits song named for today’s hellacious, hallowed holiday, recasting Halloween as a day of purest evil instead of the plastic-pumpkin candy-grab it really is. The song itself is a gory little gem — a great song from a collection of accidentally brilliant songs — but it’s not good enough to make this list. Fuck it — Halloween is here! What better way to celebrate than a collection of the absolute best graveyard classics from the masters of unintentional comedy and gore-spattered punk ‘n’ roll? You know the Misfits, and you love the Misfits because they’re the fucking Misfits. You can’t hate them without hating fun itself.
For the uninitiated (for shame!), the Misfits crawled out of New Jersey way back in 1977 with a new take on punk rock: They took boring, comparatively straitlaced New York punk for a hell-ride, fashioning themselves after undead greasers with corpsepaint and trademark devilocks. The songs were sped-up ’50s rock played terribly with an evil-Elvis impersonation on top that almost masked the genius of the vocal hooks Danzig was able to pull from god knows where. For a band that could barely play their instruments, these guys could crank out the hits like no other. Lyrics fell between horror-fueled fantasies of violence and nonsensically sexualized celebrity obsessions, but they came off like alternate-dimension radio classics — Danzig’s croon easily sold lines about killing babies, inseminating little girls, and being, uh, 138.
Sadly, the Misfits came to an unfortunate end in 1983, due to the usual shitty reasons that cause young punk bands to break up. Glenn Danzig immediately moved on to heavier, less-punk sounds with his next band, Samhain, which would eventually morph into Danzig (the band). The remaining members, led by bassist Jerry Only, eventually (and unfortunately) won the rights to use the Misfits name and hired one Michale Graves to replace their irreplaceable singer. Several tours happened, countless T-shirts were sold, and a few terrible records were released before Graves split to leave the frustratingly persistent Jerry Only to front the band. No late-period Misfits will appear in this list, rest assured.
Which leads me to the task at hand: I will do the impossible here by attempting to select a measly 10 Misfits tracks to help us celebrate this most haunted holiday and most excellent band. One production note: The Misfits’ catalog gets messy as all hell — songs were re-released and re-recorded, repurposed from live recordings, and sometimes unceremoniously overdubbed by an angry Danzig (see: all of Legacy Of Brutality) — so we’re not including original release dates this time around. Suffice to say, all these songs (and many more great ones!) can be found in varying shapes on The Misfits (also called “Collection I”), Collection II, Walk Among Us, Static Age, and Legacy Of Brutality, as well as the four-disc box set that collects all relevant Misfits goodness from the Danzig era. With a catalog full of classics, it’s inevitable many favorites will be overlooked. Trust me, I love them all — I just love these more. Feel free to unleash the hounds in the comments section and tell me exactly why “Rat Fink” should be on here.
10. “Mommy Can I Go Out And Kill Tonight?”
For all the talk of hooks and ’50s crooning, the Misfits also made for a hell of a hardcore band. They’d dive deeper into hardcore with the Earth A.D./Wolfs Blood album, but they’d never outdo the filth and fury of “Mommy, Can I Go Out and Kill Tonight?” Released smack dab in the middle of studio album Walk Among Us, “Mommy” is a live track that kicks ass by simply kicking ass. Your typical deranged Danzig rant leads into one of the best Misfits moments ever when the song lurches to a sudden stop. Everything hangs for a second before Danzig screams the title — “Mommy? Can I go out and … kill tonight?” — and we bash our way through the song in double-time. For a song about a bullied kid murdering the world, they nail the tone. As a teenager, this was the soundtrack for head-banging and trashing my room.
9. “Horror Business”
The Misfits’ third single, released in 1978, “Horror Business” is a perfect case of the absurd legends that arise from vague, violent lyrics. With lines like “You don’t go in the bathroom with me” and “I’m warning you, I’ll put a knife right in you”, folks have long theorized it was about Sid and Nancy (she was stabbed to death in a bathroom, quite possibly by Sid), or that it’s a warning to gay fans not to follow Glenn into the shitter. In reality, it’s a clear reference to the movie Psycho, with the line “Psycho ’78” meant to transpose the timeframe of the original story to the year they recorded the song. As we all know, Norman Bates, the titular pyscho, stabbed Janet Leigh in the bathroom in Hitchcock’s classic. Misfits lyrics are rarely deep, just awesome. Also of historical note: the “Horror Business” single marked the first appearance of the impossibly cool Misfits mascot, the Crimson Ghost.
8. “Astro Zombies”
One of Danzig’s best tricks is his ability to sing a line about the extinction of the human race like he’s belting it out to his girlfriend, Betty Sue, as she drives off into the distance, leaving sad Glenn to weep mascara into his devilock. He imbues so much charisma and heart into every single line, you’d be forgiven for thinking he’s singing about something real — and that’s what makes it so magical. All that feeling paired with this melody, and you’ve got a classic Misfits banger fit for the end of the world.
“Like a dry desert soaking up rain, soaking up sun.” It sounds like a nice enough line out of context. In this case, Danzig is singing about Jackie O licking up … semen. Barf as you see fit. “Bullet” retells the story of the assassination of JFK by fixating on nauseating details: the president’s bullet-ridden body in the street, his shattered head hitting concrete, and most curiously, the mental state of his wife. After shouting about JFK for half the song, Danzig shifts gears and suddenly belts “You gotta suck, suck, Jackie suck.” The rest of the song becomes a singular, morbid vision of Jackie O masturbating the dead president for his vital fluids with which to (presumably) sustain her gold-digging lifestyle. Naturally.
6. “Hybrid Moments”
“If you’re gonna scream, scream with me / moments like this never last.” That’s the opening line to “Hybrid Moments,” a song about creatures raping faces and crying girls and other nonsense, but Danzig might as well be singing about the song itself. Misfits songs are short — painfully short. Brief little bursts of gore and joy that rock so hard you bang your fist and scream along straight through till the end, which usually hits after 90 seconds of ecstatic bliss. “Hybrid Moments” roars in like a banshee and tears out of there before you know what hit you — it’s a roller coaster of melody that stops short and leaves you hanging, hungry for more.
5. “Where Eagles Dare”
How can a perfect song be such a lyrical mess? Only Danzig knows. With a rumbling bass from hell holding down the bottom, we get batshit lines like, “An omelet of disease awaits your noontime meal / her mouth of germicide seducing all your glands” before the chorus drops the classic hook: “I ain’t no goddamn son of a bitch!” Reading through the theories at songmeanings.net reveals that (A) this has nothing to do with the classic World War II movie of the same name and (B) most folks think it’s a song about prostitutes. In which case “an omelet of disease” is suddenly twice as gross. But there’s no question the song is gold, to the point where the phrase “goddamn son of a bitch” has become indelibly linked with the band. When metal/hardcore/whatever band Trap Them snuck the line into a song last year, there was no question from whence it came.
4. “London Dungeon”
For a band mostly known for whoa-oh vocals and huge choruses, it’s refreshing to hear a song with such a delicious riff. The band as a whole finally deliver at the same level as Danzig, which is a rare occurrence in the Misfits canon. The stuttering snare, the ominous bass, and that infectious, near-metal, goth-baiting guitar — every piece setting the stage for the perfect chorus. Despite their origins and the roughshod execution of most of the songs, the Misfits were capable of serious songcraft, as proven here. For once the song’s lyrics are no mystery: Upon visiting the UK for an ill-fated tour with the Damned, Danzig and then-guitarist Bobby Steele attempted to do battle with skinheads and wound up in jail for a few nights. Danzig, sassy bitch that he is, turned a feather-ruffling experience into one of the best punk songs ever written.
Ask me my favorite Misfits song, go ahead. It’s “Skulls”! It’s hard to quantify exactly how and why “Skulls” rips so fucking hard, but I suppose we’d better try. The song itself is simple four-chord punk, nothing fancy. Lyrics? Practically retarded. But when the chorus hits, all I want are skulls. It’s all in the delivery: When Danzig sings that he wants your skull, it’s like he’s never wanted anything so badly. Yet there’s something tugging at the back of his heart, something in the way he holds back during the verse: He almost feels bad about it. Not so bad as to NOT sever your head and mount your skull on the wall, leaving your body to seep out its precious blood like devil’s rain (his words), but still: Danzig feels some modicum of sorrow for his insatiable need. It’s essentially a wistful, yearning love song for your severed head. Complex shit. This is my favorite Misfits tune without question, though it’s hard to call it their “best” when the next two are pretty much untouchable ….
2. “Last Caress”
It’s the big one — the one everyone knows. The one with the nastiest lyrics ever set to an anthem meant for fist-pumping sing-alongs. Metallica covered it and made it legitimately famous without even touching on the quality of the original. AFI covered it and we’re better off forgetting they tried. By this point, “Last Caress” is practically played out, but the song still stands as one of the best the Misfits would ever produce. Heck, it’s one of the best songs ever produced by the punk genre. “Sweet lovely death, I’m waiting for your breath ….” Danzig’s final, “One … last … caress!” is as timeless and classic as anything to come out of the ’50s, just as melodic, and a million times deadlier. Which is why it’s almost the best thing they’d ever do
1. “Die, Die My Darling”
This — the sixth and final Misfits single ever released before the painful-to-watch, even-worse-to-hear Michale Graves/Jerry Only period — is about as good as it gets. The band had broken up by the time it came out in 1984, though “Die, Die My Darling” was actually recorded in 1981 for the Walk Among Ussessions, and — somehow, amazingly — left off that album. By Misfits standards, the 3:11 running time is an eternity — but that’s part of the magic. Never once does the energy flag. The stomp that launches the song out the gate carries through the entire running time, building up to stomp even harder before crumbling to chaos at the end. An insistent single-note guitar lead ratchets the tension as high as it can go while Danzig howls his way through a song about killing his unnamed darling. It’s single-minded and nasty, pissed as fuck and perfect. “I’ll be seeing you in hell.” Released when it was, it’s easy to picture Danzig aiming the sentiment at his former bandmates, or even the band itself. Then again, Misfits lyrics are rarely deep. Either way, it was the perfect sendoff for one of the best punk bands of all time.
Welcome to our “Psychedelic Lunch” series, “Valentines Day” Edition where we find out how deep the rabbit hole really goes and explore psychedelic tunes from the 60’s to today. Weekdays At Noon EST. Enjoy the trip!
Happy ❤️Valentines Day ❤️From Vinyl Lair
10 Romantic Rock, Blues & Metal Love Songs
1. Peter Frampton, Im In You, Album:Im In You 1977
I’m in You” was written by Peter Frampton after returning to New York City from touring to record his live album Frampton Comes Alive! in 1976. The song is about Frampton being recently separated from his first wife, the model Mary Lovett.
Despite what one might at first think from the title, Frampton meant being “in” somebody in the spiritual sense. Sort of like the “I am he as you are he as you are me…” part from “I Am The Walrus.”
2. Pig Destroyer, The Girl in The Slayer Jacket. Album: Phantom Limb 2007
We know what you’re thinking: “Is Pig Destroyer really appropriate for Valentine’s Day?” This track recounts the “Girl in the Slayer Jacket” giving someone their first kiss in seventh grade, but after the opening lines, it all goes south, describing the girl’s eventual suicide and how Slayer nearly took the blame. But it was a beautiful relationship… while it lasted.
“Her parents / Tried to sue Slayer / They blamed her boyfriend and PCP / But the truth is her eyes / Had been dead since she was five / She just hadn’t disposed of her body“
3. The Beatles, Something. Album: Abbey Road 1969.
This seemed to be inspired by Harrison’s wife, Pattie, but he claimed he did not have anyone in mind when he wrote it. George was really into his studies of Krishna Consciousness when he wrote the song, and its original intent was as a devotion to Lord Krishna. In fact, the lyric was “something in the way HE moves,” but George ended up changing it because he didn’t want to be perceived as a “poof.”
Pattie did inspire “Layla” when Eric Clapton realized he loved her a few years later. She and Clapton were married from 1979-1988 (he also wrote “Wonderful Tonight” for her).
In her 2007 book Wonderful Tonight: George Harrison, Eric Clapton, and Me, Pattie Boyd wrote: “George wrote a song called ‘Something.’ He told me in a matter-of-fact way that he had written it for me. I thought it was beautiful and it turned out to be the most successful song he ever wrote, with more than 150 cover versions. George’s favorite version was the one by James Brown. Mine was the one by George Harrison, which he played to me in our kitchen. But, in fact, by then our relationship was in trouble. Since a trip to the Maharishi Mahesh Yogi’s ashram in India in 1968, George had become obsessive about meditation. He was also sometimes withdrawn and depressed.”
4. Etta James,At Last. Album: At Last! 1960.
The songwriting team of Mack Gordon and Harry Warren wrote this in 1941 for the film musical Sun Valley Serenade. The following year it was rearranged and re-recorded and used in the film Orchestra Wives. It was performed in both movies by Glenn Miller and his Orchestra with vocals by Ray Eberle, and the song became a major big band hit in October 1942. Gordon and Warren composed other hits together, including “Chattanooga Choo Choo,” “Serenade in Blue,” “You’ll Never Know,” and “There Will Never Be Another You.” Many of their songs were for musical motion pictures, including at least one written for Shirley Temple. Before teaming up, they were successful composers on their own and wrote numerous other songs with other partners. Gordon wrote the lyrics and Warren wrote the music.
Etta James recorded this in 1961 shortly after signing with Chess records. Leonard Chess thought James was a classy ballad singer and saw pop crossover potential in her; it was his decision to back her with violin orchestrations for the song. Her version went to #2 on the R&B chart.
With lyrics about finding that one true love and a classical feel, this is a very popular wedding song.
5. Pantera, This Love. Album: Vulgar Display Of Power 1992.
This moody rocker seems to explore the turbulent dynamics of love, with the singer making a painful detachment from the relationship for his own good. The inspiration was far more primitive, however: It is a message to what lead singer Phil Anselmo calls “clingy women.”
“I was young, and thought, ‘Let’s not make more of this relationship than need be,'” Anselmo said in an interview.
6. Journey, Faithfully. Album: Frontiers 1983.
Journey keyboard player Jonathan Cain wrote this song about the challenges of being a married man on the road in a rock band:
Always another show Wondering where I am Lost without you
At the time, he was married to his first wife, Tané, a singer who had a #37 hit in 1982 called “Holdin’ On,” which Jonathan co-wrote and produced. He and Tané divorced a few years later, despite him pledging in this song to be “forever yours… faithfully.”
In an interview Jonathan Cain said, “God gave me that song,” as he wrote it so quickly. “I started it on the bus heading to Saratoga Springs,” he said. “I woke up the next day with a napkin on the side of my nightstand and I looked at the lyrics, ‘Highway run into the midnight sun.’ Then I got this supernatural download: This is the rest of the song.
I wrote rest of it down, almost frantically. I’d never had a song come to me so quickly that it was anointed, supernatural. Literally, in 30 minutes I had written that song. I had the napkin in my pocket and I put it on the piano. I had a big grand piano there by the orchestra. I played through it and I thought, ‘Man, this is good.’
The Lord gave me permission to finish it. Normally I would go to Steve Perry or somebody and say, ‘Help me finish this song.’ No. God gave me the mind to finish it, and the rest is history. That would be a love song to God, absolutely.”
7. Prince And The Revolution, Purple Rain.
The album was actually the soundtrack to the first movie Prince made. He went on to make three more: Under The Cherry Moon, Sign O’ The Times, and Graffiti Bridge. Purple Rain won Prince an Oscar for Best Original Song Score (not to be confused with the Best Original Score category, won that year by A Passage to India).
The song “Purple Rain” was the centerpiece of the film and a key plot point. In the movie, the female members in Prince’s band, Wendy Melvoin and Lisa Coleman, write a song that Prince ignores, prompting a tirade from Wendy (“Every time we give you a song you say you’re going to use it but you never do. You’re being paranoid as usual…”). At the end of the film, Prince’s crew is in a heated rivalry with another band (The Time), who do a blistering set that Prince must follow. When Prince takes the stage, he introduces “Purple Rain” as being written by Wendy and Lisa, then tears down the house with it.
Wendy and Lisa were real members of Prince’s band until 1987 when they left to record as a duo. This song, however, was composed solely by Prince. It’s a love song, with Prince singing about his devotion to a girl, but it also serves as a catharsis, releasing the pent-up frustrations that had been building throughout the movie. The “Purple Rain” is a place to be free.
8. The Pretenders, I’ll Stand By You. Album: Last Of The Independents 1994.
Chrissie Hynde wrote this with Tom Kelly and Billy Steinberg, who have written many hit songs, including “True Colors,” “Eternal Flame” and “Like A Virgin.” Steinberg told us how they met:
“Tom and I never had a publisher, we both published ourselves. Jason Dauman was somebody who, for a commission, was willing to provide some of the service that a publisher would. He once said to me, ‘Who would you like to collaborate with?’ and it was sort of an annoyance to me. I didn’t take him all that seriously, but almost facetiously I said, ‘Prince, Bruce Springsteen and Chrissie Hynde.’
I said those names because they were three of my favorite songwriters and he sort of took it seriously. He went off and I just thought, ‘Well I got rid of him, didn’t I.’ Then a little while later he called me up and he said, ‘Chrissie Hynde wants to write with you and Tom,’ and I thought, ‘Right.’ So anyway, I get a phone call and this woman said, ‘Billy, this is Chrissie Hynde,’ and I thought somebody was playing with me or something. I couldn’t imagine it, but then in a minute it was quite clear that Chrissie was on the other end of the telephone.
Chrissie is a very complicated person, a very no-nonsense person especially when she doesn’t know you. She was a little intimidating on the phone. The butterflies in my stomach were fluttering so much I could barely speak because I love The Pretenders. She said she’d like to get together and write some songs with Tom and me, and I went, ‘Woo Hoo!’ She came to Los Angeles and she was so determined. She said, ‘I want to write a hit.’ Over a period of about two weeks Tom and I wrote a handful of songs with her. The first one we wrote together was called ‘Love Colors Everything.’ Then we wrote ‘Night In My Veins’ which was also a hit single, and we wrote ‘977,’ ‘Hollywood Perfume’ and ‘I’ll Stand By You.'”
9. Deftones, Change (In The House Of Flies) Album: White Pony 2000.
There aren’t too many songs that send chills through your body, but “Change” by the Deftones is hauntingly atmospheric and breathtaking and gets you there. Though it’s a little darker than some of the ballads on this list, but it’s a song you need to listen to when you’re vulnerable and intimate with your partner.
10. Elton John, Your Song. Album: Elton John 1970.
This was one of the first songs John wrote with Bernie Taupin. They met after a record company gave John some of Taupin’s lyrics to work with. Eventually, they both moved into John’s parents’ house, where they started working together.
The song was written in 1967, when Bernie Taupin was 17 (“hence the extraordinarily virginal sentiments,” he has said). Elton has said that this song is not about anyone in particular, so Taupin has refused to reveal the identity of the person – if such person exists – who inspired this song. He explained in a 1989 interview with Music Connection: “It’s like the perennial ballad ‘Your Song,’ which has got to be one of the most naïve and childish lyrics in the entire repertoire of music, but I think the reason it still stands up is because it was real at the time. That was exactly what I was feeling. I was 17 years old and it was coming from someone whose outlook on love or experience with love was totally new and naïve.