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It’s Eclectic! It’s Eccentric! It’s RadioNowhere!
19.May.2025
SONIC YOUTH - Youth Against Fascism (Geffen Records)
SELF ESTEEM - 69 (Polydor)
JOURNEY - Any Way You Want It (CBS)
BEACH DAY - Stay (Kanine Records)
DOORS - Love Her Madly (Elektra)
BLUR - It Could Be You (Food/Parlophone)
PSYCHEDELIC FURS - Pretty In Pink (Berlin Mix) (CBS)
NEW ORDER - Sunrise (Factory)
outro music PAUL WHITEMAN - Rhapsody 21
1. SONIC YOUTH - "Youth Against Fascism" (Geffen Records)
"Youth Against Fascism" was released in December 1992 as the second single from Sonic Youth's 1992 album, Dirty. The track is primarily categorized within the alternative rock and noise rock genres.
Sonic Youth, formed in 1981, emerged from the vibrant, experimental no wave art and music scene in New York City. The band, comprising founding members Kim Gordon, Thurston Moore, and Lee Ranaldo, along with drummer Steve Shelley, became renowned for their innovative approach to rock guitar, employing unorthodox tunings and prepared instruments to redefine sonic possibilities. While their earliest releases exhibited a more conventional post-punk style, they swiftly embraced and pioneered noise rock and experimental elements. The album Dirty, from which "Youth Against Fascism" is drawn, further cemented Sonic Youth's standing in the alternative rock and noise rock landscape. "Youth Against Fascism" is characterized by its signature alternative rock and noise rock sound. A notable aspect of the track is the contribution of additional guitar parts by Ian MacKaye, a revered figure from the American hardcore punk scene, known for his work with Minor Threat and Fugazi. This collaboration underscores Sonic Youth's deep credibility and continued connection to the underground and punk ethos, even as they navigated the commercial demands of a major label. MacKaye's involvement served to reinforce the band's artistic integrity and authenticity to their established independent fanbase, demonstrating that their move to a larger platform did not compromise their roots or their commitment to challenging musical norms. This interplay between mainstream reach and independent credibility was a defining characteristic of the alternative music movement in the early 1990s.
"Youth Against Fascism" achieved a peak position of #52 on the UK Singles Chart and #123 in Australia in 1992. Beyond its chart performance, the song's lyrical content carried significant political weight. It notably includes the line "I believe Anita Hill," a direct reference to the highly publicized controversy surrounding Judge Clarence Thomas's 1991 Supreme Court appointment amidst allegations of sexual harassment from Hill, a former subordinate. The explicit political messaging, particularly the direct reference to Anita Hill, positioned "Youth Against Fascism" as more than just a musical track; it became a direct commentary on contemporary American social and political issues. This deepened its cultural relevance beyond pure musical enjoyment. Sonic Youth, known for their experimental and often abstract artistic approach, used this major-label platform to make a timely and direct political statement. This demonstrated the band's willingness to leverage their growing mainstream visibility for social commentary, distinguishing alternative music from more apolitical mainstream rock. The song's forceful stance on a sensitive issue resonated strongly with the socially conscious alternative rock audience of the early 1990s, reinforcing Sonic Youth's status as "alternative icons" who were unafraid to take a stand. A later review of their 2004 album Sonic Nurse noted that the track "Peace Attack" on that album sounded "less aggressive than Dirty's similarly themed 'Youth Against Fascism'," indicating that "Youth Against Fascism" was perceived as a more direct and potent political declaration.
2. SELF ESTEEM - "69" (Polydor)
The track "69" by Self Esteem was released in 2025. It encompasses a blend of genres, including Pop/Rock, Indie Pop, Alternative R&B, and Alternative/Indie Rock. The song is featured on her album A Complicated Woman, which was released on April 25, 2025.
Self Esteem is the musical moniker of Rebecca Lucy Taylor, an indie/pop singer-songwriter who embarked on her solo career in 2017 after previously performing as part of the indie/folk duo Slow Club. Her solo work marks a significant stylistic evolution, moving away from her folk roots to embrace electronic pop, R&B, and a more "bombastic pop" sound. Her 2021 album, Prioritise Pleasure, garnered widespread critical acclaim for its "confessional take on alternative pop and R&B". The subsequent album, A Complicated Woman (2025), from which "69" is taken, was anticipated to present a "bolder, brighter evolution" of her signature sound, characterized by intricate narratives and a "soaring choir of voices," largely composed of female friends and collaborators. "69" itself is described as a "quick, three-minute house song" featuring "pulsating, muscular, lascivious electronics" and a "heady vocal" that includes guest contributions from LA drag superstar Meatball. The song's production credits include Johan Hugo as producer and recording engineer, Gordon Davidson as engineer, Geoff Swan as mixing engineer, and Matt Colton as mastering engineer. The explicit lyrical content and the choice of house music as its genre underscore Self Esteem's dedication to using her music as a platform for personal and political expression, particularly concerning themes of female pleasure and gender inequality. Rebecca Lucy Taylor herself stated that she "always wanted to write a song that lists sex positions and rates them," explaining that "a lot of my music is saying the things I struggle to say in real life." She further articulated the political dimension of the song, noting that "women still are expected to cater to others sexually" and expressing frustration with discussions about "faking it" due to the existing inequality in male/female dynamics. By blending a traditionally hedonistic genre like house with frank, empowering lyrics about female sexuality, Self Esteem effectively subverts expectations. This approach transforms a potentially taboo subject into a communal, celebratory anthem, directly challenging societal norms around female pleasure and agency. The song thus becomes a vehicle for social commentary that is both catchy and thought-provoking, contributing to a broader cultural conversation.
Upon its release, "69" was immediately characterized as a "sizzling new single" and a "spicy romper". The song directly addresses female sexual agency and challenges the societal expectation for women to prioritize others' sexual needs, aiming to promote clear communication of desires. The track's themes align with a broader movement to dismantle stigmas and celebrate individual preferences. The strategic timing of the single's release, specifically on Valentine's Day, combined with its provocative and empowering lyrical themes, created a deliberate cultural statement. This positioned Self Esteem as a prominent voice for modern female empowerment. Rebecca Lucy Taylor's stated intention to use music to express "things I struggle to say in real life" and to address the "inequality in the male/female dynamic" suggests a conscious effort to make the song a direct cultural intervention. By releasing a song about female sexual agency and challenging gender norms on a day traditionally associated with romantic love, Self Esteem transforms Valentine's Day from a passive celebration into an active moment of reclaiming and asserting female desire. This strategic choice amplifies the song's cultural impact and solidifies Self Esteem's role as a feminist voice in contemporary pop music.
3. JOURNEY - "Any Way You Want It" (CBS)
"Any Way You Want It" is a prominent track by American rock band Journey, released on February 22, 1980. It served as the lead single from their sixth studio album, Departure, which was also released in 1980. The song is firmly rooted in the hard rock and classic rock genres.
Journey initially formed in San Francisco in 1973 as a progressive rock and jazz fusion band. However, by 1978, the band underwent a significant stylistic redefinition, embracing more accessible pop arrangements and evolving into a prominent act known for arena rock and hard rock. This conscious shift from their progressive rock/jazz fusion origins to a more commercially oriented "pop arrangement" and "arena rock" sound was a deliberate and highly successful strategy to achieve mass appeal. Lead singer Steve Perry openly acknowledged that "Any Way You Want It" was heavily influenced by the Irish hard rock band Thin Lizzy, particularly their bassist Phil Lynott. Perry cited Thin Lizzy's "guitar-vocal-guitar-vocal interchange thing" as a direct inspiration for the song's dynamic structure. Musically, the track is characterized as hard rock. Critics lauded its "tightened up the rhythm section," "short, smart drum shots," "quick, choppy guitar licks," and a "soaring hook and guitar break". A unique sonic element in the studio version was created by co-producer Geoff Workman, who doubled keyboardist Gregg Rolie's Mellotron sound with his regular organ, resulting in a distinctive background support for the song. This pivot from niche genres to mainstream hard rock/arena rock, partly influenced by other successful rock acts, was a calculated move to broaden their audience. "Any Way You Want It" stands as a prime example of this successful commercial adaptation, embodying the energetic, anthemic sound that allowed Journey to become a dominant force in rock music throughout the 1970s and 1980s.
"Any Way You Want It" achieved significant commercial success, peaking at #23 on the US Billboard Hot 100 chart and #50 in Canada. It also saw a resurgence in the UK, reaching #161 on the Singles Chart in 2010. Initial critical reception praised its tight musicianship, energetic guitar work, and memorable "soaring hook". The song's enduring cultural impact is evident in its continued presence as a "live staple" for Journey and its heavy rotation on classic rock radio, solidifying its status as a "signature song" for the band. A particularly striking aspect of its longevity is its repeated inclusion in popular culture across different decades. It has appeared in films such as Caddyshack and Pitch Perfect 2, and television shows like Glee and The Simpsons. Furthermore, it was prominently featured in promotional material for the 2024 action-comedy film The Fall Guy, where it was described as "classic rock" seamlessly blended with "explosive action set pieces". The song's repeated appearances in diverse media, from comedies to action films, illustrate its remarkable cross-generational appeal and its status as a timeless "classic rock" anthem. This consistent use in various narratives indicates that "Any Way You Want It" has transcended its original musical context to become a widely recognized cultural touchstone. Its upbeat, accessible nature and powerful hook make it highly adaptable for various narrative purposes, ensuring its longevity and introducing it to new generations, thereby cementing its "classic rock" status. This demonstrates the powerful role of licensing and media placement in securing a song's cultural immortality.
4. BEACH DAY - "Stay" (Kanine Records)
"Stay" is a single from Beach Day's debut album, Trip Trap Attack, which was released in June 2013. The music video for "Stay" was initially filmed in the fall of 2013. The band's primary genres are surf rock, garage, and pop , with descriptions also including elements of 1950s surf pop, 1960s girl group vocals, and fuzzed-up garage rock guitars.
Beach Day is a rock band based in Hollywood, Florida, formed in 2012 by Kimmy Drake (guitars/vocals) and Skyler Black (drums). The duo connected over a shared appreciation for 1960s girl groups and a mutual desire to create music that was "purely about fun". Their musical influences are broad, consciously synthesizing "50s surf pop, and 60s girl group vocals overlaid with fuzzed up, garage rock guitars". They also express admiration for Motown and draw inspiration from "every decade from 50s to 60s to 70s punk". Drummer Skyler Black specifically cites the drumming styles of the 1960s as an influence. The track "Stay" exemplifies this eclectic blend, opening with a "staccato attack" reminiscent of The Supremes' "You Keep Me Hangin' On". The song incorporates "contemporary guitar distortion" and features a "repetitive riff-based guitar instrumental". The band's debut album, Trip Trap Attack, is characterized by a production style described as "pure 45 rpm, straight out of the early days of rock," possessing "irresistible energy" and moments of lyrical "brilliance". Beach Day's conscious blending of 1950s surf pop, 1960s girl group harmonies, and 1970s punk/garage rock signifies a deliberate retro-futurist approach to their sound. This creates a distinctive niche by reinterpreting classic influences through a contemporary lens. By synthesizing these diverse retro elements, Beach Day crafts a sound that is both nostalgic and fresh, appealing to listeners who appreciate classic sounds while offering a modern edge through their "fuzzed up, garage rock guitars". This strategy effectively leverages familiarity to construct a new artistic identity, demonstrating how genre boundaries are fluid and continuously reinterpreted in contemporary music.
The video for "Stay" was initially conceived with a visual aesthetic described as "Cry Baby meets Clueless". The band's debut album, Trip Trap Attack, received praise for its "irresistible energy" and lyrical "flashes of brilliance," noted as being "anything but pretentious". Lyrically, "Stay" explores themes of relationships and longing, with phrases like "I miss you" appearing in the song. The broader album, Trip Trap Attack, delves into themes pertinent to young adult relationships, the process of escaping parental programming, and the journey of self-discovery. The band's name, "Beach Day," and their surf/girl group aesthetic create a strong thematic brand that, while evoking classic beach culture, also allows for a deeper exploration of personal and sometimes "uncomfortable" lyrical themes. For instance, a review of their follow-up album, Native Echoes, noted its exploration of the "uncomfortable truth that relationships with other human beings are often fraught with pain and misunderstanding". This creates a compelling contrast: the band's seemingly sunny, retro "beach" aesthetic acts as a vehicle for more introspective and relatable narratives concerning modern relationships. This duality allows them to attract listeners with an accessible sound while offering lyrical depth, demonstrating how branding can be utilized to both establish expectations and subtly subvert them, fostering a richer and more nuanced connection with their audience.
5. DOORS - "Love Her Madly" (Elektra)
"Love Her Madly" is a song by the American rock band The Doors, released in March 1971. It served as the first single from L.A. Woman, which was the band's final album featuring singer Jim Morrison. The song is categorized within the blues rock genre.
The Doors, formed in 1965, were a highly influential American rock band, recognized for their significant impact on the psychedelic rock scene. Their music was characterized by a distinct blues-rock style, often incorporating provocative themes and theatrical performance techniques. "Love Her Madly" was penned by guitarist Robby Krieger during Jim Morrison's trial in September 1970, with the lyrics reportedly inspired by his personal relationship challenges with his then-girlfriend and future wife, Lynn. Ray Manzarek, the band's keyboardist, noted that the song's title was derived from Duke Ellington's catchphrase, "We love you madly," which he used to address his audience at the conclusion of concerts. The song was recorded between December 1970 and January 1971. A notable anecdote surrounding its creation involves Paul A. Rothchild, The Doors' long-time producer, who reportedly dismissed "Love Her Madly" as "cocktail music." This creative disagreement led to Rothchild's departure from the L.A. Woman sessions, prompting the band to self-produce the album in collaboration with their long-time engineer, Bruce Botnick. Session musician Jerry Scheff also contributed bass guitar to the track. The incident with Rothchild reveals a critical tension between artistic vision and commercial appeal, ultimately influencing the album's production. The band's decision to self-produce L.A. Woman suggests a desire for greater artistic autonomy and a return to a more raw, blues-oriented sound, moving away from the more polished production of previous works. The subsequent commercial success of "Love Her Madly," a "terrific new rocker" with "FM and top forty potentials" , despite (or perhaps because of) this unmediated approach, indicates that the band's artistic instincts, when unburdened by external production pressures, resonated strongly with audiences. This highlights a moment of artistic self-assertion that directly shaped the album's distinct sound and contributed to its success.
"Love Her Madly" achieved considerable commercial success, peaking at #11 on the US Billboard Hot 100 chart and reaching #3 in Canada. It also charted at #6 in Australia and #4 in the Netherlands. Initial critical reception was positive, with publications praising its commercial viability and rock quality. The song's enduring cultural impact is solidified by its continued recognition as a well-known Doors track. In 2000, surviving members Robby Krieger, Ray Manzarek, and John Densmore recorded a new version of the song with blues legend Bo Diddley for a Doors tribute album. Furthermore, "Love Her Madly" is frequently associated with the character Jenny from the acclaimed 1994 film Forrest Gump. This enduring association with Forrest Gump demonstrates how film synchronization can significantly extend a song's cultural life and introduce it to new generations, cementing its place in popular memory beyond its original release. For many, particularly younger audiences who may not have experienced the song during its initial popularity, its inclusion in a culturally significant film serves as a primary point of discovery and association. This re-contextualization provides a new layer of meaning and emotional connection, ensuring the song's continued relevance and listenership for decades after its initial release, illustrating the powerful synergy between music and visual media in shaping cultural memory.
6. BLUR - "It Could Be You" (Food/Parlophone)
"It Could Be You" by Blur was released as a single in 1996, exclusively in Japan. The song falls within the rock, indie rock, and Britpop genres. It is featured on the band's 1995 album, The Great Escape.
Blur is a highly acclaimed British band that rose to prominence in the 1990s, renowned for their distinctive fusion of alternative rock, Britpop, and indie rock. They were a central figure in the Britpop movement, often positioned in a well-publicized rivalry with Oasis. Damon Albarn serves as the band's frontman and principal songwriter, known for his ability to craft catchy melodies and insightful lyrics that capture the essence of British culture. Blur's sound underwent significant evolution, from their early work (e.g., Leisure) to their Britpop-defining albums like Parklife. Following The Great Escape, the band shifted towards a more "garage-rock-indebted" sound with their self-titled album Blur. "It Could Be You" is a track from The Great Escape. The song is characterized by its "rich in melodies and general catchiness," featuring "enthusiastic 'doo-doo/ooh-ooh' vocals" and a "keen vocal take from Albarn". It also incorporates a "fuzz bass" during the chorus and showcases strong performances from all band members. The song's direct inspiration from The National Lottery's initial slogan, "It Could Be You," highlights Blur's characteristic ability to embed social commentary and observations of everyday British life into catchy pop songs, a defining trait of the Britpop era. By directly referencing a new and highly visible aspect of contemporary British society, Blur tapped into the collective consciousness of the time. This allowed the song to function simultaneously as an infectious pop tune and a subtle commentary on the aspirations and realities within British culture, thereby solidifying their position as a leading voice of Britpop. This demonstrates how popular music can serve as a cultural mirror, reflecting and engaging with contemporary societal phenomena.
Despite containing tracks like "It Could Be You," The Great Escape is "mostly seen as Parklife's weaker follow-up nowadays," and notably, the band members themselves "don't look on The Great Escape very fondly". Conversely, "It Could Be You" is regarded by fans as an "underrated" and "overlooked" song. Blur's overall influence on the alternative rock scene and Britpop is undeniable, having inspired numerous subsequent bands. The band's retrospective disavowal of The Great Escape, despite "It Could Be You" being a track appreciated by fans, illustrates the complex relationship between an artist's perception of their work and its actual reception or enduring quality. This apparent contradiction suggests that artists' views of their own creations can be influenced by their subsequent artistic directions or personal feelings about a specific period, rather than solely by the objective quality of the music. For fans, however, the song often stands on its own merits. This dynamic highlights how an album's legacy can be shaped by both internal artistic narratives and external critical and fan reception, leading to differing valuations over time.
7. PSYCHEDELIC FURS - "Pretty In Pink (Berlin Mix)" (CBS)
The "Berlin Mix" of "Pretty in Pink" by The Psychedelic Furs was released in 1986. This version is distinct from the original recording, which first appeared in 1981. The song falls under the genres of Rock, Stage & Screen, Alternative Rock, and New Wave , also being described as post-punk and pop rock. The original 1981 version is from the album Talk Talk Talk , while the 1986 re-recorded version was specifically included on the soundtrack for the film Pretty in Pink.
The Psychedelic Furs, formed in London in 1977, are widely regarded as a quintessential post-punk band, known for their distinctive blend of punk, new wave, rock, and pop. Their sound evolved from raw, thrashing punk to a "darker, more complex soundscape". The original "Pretty in Pink" emerged from their second album, which marked a shift towards "tighter, more melodic and pop-oriented songs still driven with raw guitar and punk edge". Later in their career, the band further integrated keyboards and moved towards a "purer pop sound". "Pretty in Pink" is characterized as a "pop-punk song". The "Berlin Mix" is a 12-inch vinyl single. The original 1981 version was produced by Steve Lillywhite, who is credited with achieving the "ideal sound for the band, with a perfect blend of classic pop, punk, and art rock elements". The 1986 re-recorded version, however, was produced by Charles Harrowell. The existence of both an original 1981 version and a re-recorded 1986 "Berlin Mix" for the film soundtrack illustrates the band's willingness to adapt their sound for broader appeal and the subtle yet significant role of production in shaping a song's commercial destiny. The re-recording and the "Berlin Mix" suggest a deliberate effort to update the song's sound to align with contemporary production trends of the mid-1980s (e.g., the rise of synth-pop and new wave) and to make it more suitable for the film's aesthetic. This demonstrates a strategic decision to maximize commercial potential by refining the track for a new audience and media platform, even if it meant altering what some considered the "definitive take". This situation underscores the commercial pressures and opportunities that can lead artists to revisit and re-imagine their own material.
The original 1981 version of "Pretty in Pink" reached #43 on the UK Singles Chart. The 1986 re-recorded version, however, achieved greater commercial success, peaking at #18 in the UK and narrowly missing the Top 40 on the US Billboard Hot 100 chart at #41. Lead singer Richard Butler clarified the song's lyrical themes, stating it was about two women he knew in London and specifically about "a girl who sleeps around a lot and thinks that she's popular because of it," emphasizing that the characters were not high-school age despite the film's narrative. The 1986 John Hughes film Pretty in Pink was famously named after the song, and its soundtrack included the re-recorded version. The film's success played a significant role in exposing many lesser-known UK acts to American audiences. However, the substantial divergence between the songwriter's intended lyrical meaning (a promiscuous woman, not a high-schooler) and the film's interpretation (a high-school romance) highlights the powerful, and sometimes unintended, re-contextualization that can occur when music is integrated into popular media. The film's narrative effectively "overwrote" the original lyrical intent for a large segment of the audience. This demonstrates the immense power of popular culture, specifically film, to shape and even redefine the meaning of a song. While it provided a massive commercial boost, it also illustrates a loss of artistic control over the song's perceived message, creating a dual legacy where the song exists both as the artist's original vision and the widely adopted film interpretation.
8. NEW ORDER – "Sunrise" (Factory)
"Sunrise" by New Order was released on May 13, 1985. The song is primarily categorized within the synth-pop, dance-pop, and post-punk genres, also encompassing electronic rock, dance-rock, alternative dance, and new wave. It is a track from their critically acclaimed 1985 album, Low-Life.
New Order formed in Salford, England, in 1980, emerging from the remnants of Joy Division following the tragic death of frontman Ian Curtis. The band quickly became influential by fusing post-punk with electronic dance music. Their early years were initially overshadowed by Joy Division's post-punk legacy. However, after experiencing the early 1980s New York club scene, they began to incorporate dance rhythms and electronic instrumentation into their work. The album Low-Life (1985) is widely regarded as the pivotal moment when New Order "completed their transformation from post-punk hold-overs to dance-rockers," showcasing an increased integration of synthesizers and samplers while still preserving the rock elements of their earlier sound. New Order's influences were diverse, including electronic pioneers like Kraftwerk, Giorgio Moroder/Donna Summer's "I Feel Love," Sparks, and English electronic groups such as Cabaret Voltaire, Human League, and OMD. "Sunrise" itself is described as "a raging argument with God, and another touched by the hand of Morricone," and notably, "the closest thing to a Joy Division song they've ever done". This description of "Sunrise" as the "closest thing to a Joy Division song they've ever done" on an album that marked their full transition to "dance-rockers" reveals a complex interplay between their past and present identities. It suggests that even as New Order forged a distinct new identity, they consciously or unconsciously revisited their origins, particularly in moments of profound emotional or thematic depth. "Sunrise" functions as a poignant bridge, allowing the band to acknowledge and process their past (the "holy ghost" of Joy Division ) while firmly progressing into their electronic dance-rock future. This demonstrates that artistic evolution is not always a clean break but can involve integrating and reinterpreting past influences, creating a richer, more nuanced sound that appeals to both long-time fans and new listeners.
Low-Life is widely considered among New Order's "strongest work". "Sunrise" is specifically characterized as an "emotional synth wash questioning of faith". The band's pioneering fusion of post-punk and electronic dance music established them as "one of the most acclaimed and influential bands of the 1980s". They were central figures in the "Madchester" scene, a cultural movement that blended alternative rock with dance music.The lyrical themes of "Sunrise" include lines such as "I've been waiting to hear your voice for too long now / One way conversations do not work somehow," and "Your name might be god but you don't say that much to me". This lyrical exploration of a "raging argument with God" and questioning faith within a synth-pop/post-punk framework reveals New Order's capacity to infuse profound existential themes into their evolving sound. This resonated with an audience seeking depth beyond typical pop music. By tackling complex themes of faith, communication, and loss within a sound that was increasingly electronic and dance-oriented, New Order demonstrated that "pop" music could be intellectually and emotionally profound. This blend of accessible melodies with deep, often melancholic, lyrical content allowed them to connect with an audience that appreciated both the innovation of their sound and the introspection of their words, solidifying their reputation as a band that pushed boundaries in both form and content.
