Guy K

Guy K

Comments

The Ian Gomm song is very underrated.
After being sort of a minister of negativism around here with many of my posts since late '88, I was a little self-conscious about how highly I was rating "Hold On," but it turns out a whole lot of commenters are right in line with my 8 and Tom's 9.
A couple of lesser-remembered but really good "Hold On"s: Ian Gomm and Santana.
"Healing Hands" is top-tier Elton for me. One of my favorite things he ever did after his '70s imperial phase.
Maybe the guy Ann Wilson picked up in the song was Sammy Johns, who sang the other most famous hitchhiking song, "Chevy Van" ("I put her out in a town that was so small, you could throw a rock from end to end.").
For me, their very best song, which did not reach #1, was "Give It Up," from 1992. Carnie's "Oooh, God!" in the bridge of the song comes out of nowhere, and is laugh-out-loud funny.
I will always throw my support behind Pat Benatar, but I think "Love is a Battlefield" is beloved more by others than by me. The Quiet Riot debacle is a 1/10 all the way. Neanderthal garbage. Period.
Dear God, that's got to be the worst trio of #2s ever polled in one grouping. Nothing higher than a 3, and "Puppy Love" is a hard 1/10. It is worse, for me, than "(You're) Having My Baby," which I know is probably the most unpopular #1 of all time.
"Rock & Roll Part II" and "I'm So Excited" are a good place to start.
The Steam song is probably more well-known now than it was 50+ years ago. The Chicago White Sox' organist had a lot to do with making "Na Na Na Na Hey Hey ..." an inescapable cultural touchstone for generations to come.
Whether the actual lyric is "him," "them" or "'em" has been left deliberately vague, I think. And which one of those pronouns you hear it as definitely changes the intent of the lyrics.
Based strictly on its sonic qualities, I was almost tempted to give “Hold On” a 10. I thought it was a #1 song the second I heard it for the first time, and through many years of overplay, it’s managed to maintain its appeal to me. The trio’s harmonies combined with the melody and the arrangement just hit an irresistible sweet spot for me. But it’s not a 10. Because, well, the lyrics. They confuse me. On first listen, they seem so on the nose that they should not confuse anybody. But listen carefully to what she’s saying here, and there are some disturbing contradictions. “Some day somebody's gonna make you want to turn around and say goodbye Until then, baby, are you going to let him hold you down and make you cry?” OK, so this is a toxic relationship, at the very least, and maybe an abusive one. So then why is the singer urging this person to “hold on for one more day”? It sounds like she’s encouraging her friend to remain IN this toxic/abusive relationship. “Things’ll go your way, if you hold on for one more day.” I mean, what she’s leading up to with lines about “you got yourself into your own mess” and “are you going to let him hold you down and make you cry?” SHOULD be a line like, “Dammit, girl, take control of your own life now and don’t put up with this crap anymore. Get the hell out, NOW.” So, doesn’t “Hold on for one more day” sound like it’s saying just the opposite: Stay with this asshole a little longer and maybe things will go your way? Am I the only one hearing this contradiction? What am I missing? Because of this, a beautifully harmonized pop song gets knocked down a couple notches for me. It’s still an 8/10, but I would have gone higher if the lyrics had stated their case differently.
Madonna recorded a great Bond theme -- it just happened to be used for an Austin Powers movie and not a James Bond movie.
"I'll Remember" is a hard 10/10 for me. So haunting and so mesmerizing.
Gonna be an interesting day here when we get to that one. Anybody who actually follows my own comments and tastes my be surprised at where I stand on that song.
How a song sounds usually overrides every other criteria for me (so great lyrics with poor production or a crappy melody aren't enough to make me love a song, usually), but "All I Wanna Do is Make Love to You" is a glaring exception to that rule. The lyrical content is so repugnant that a nice melody, a decent hook and vocals by one of the world's great singers are not enough to salvage it. It peaked at #2 and it is a 2/10.
Is "Vogue" the song most associated with Madonna? Maybe it is, but I'd think "Like A Prayer," "Material Girl" and "Like a Virgin" could also be accorded that distinction. The Madonna songs I favor the most are not the top-tier, most iconic tunes of hers.
Books and massive lists of rankings like that exist to start arguments and generate discussion. Since no two people in the universe could ever even agree on their same top FIVE songs or albums, obviously, a top 500 is there to both piss people off and draw people in. Because everybody loves lists.
I like "Do You Remember" a little bit more than some of Phil Collins' other dog-faced and sad ballads, but there's something in the video that always drove me crazy. The flashback is supposed to take place sometime in the 1950s, but the boy on his newspaper route is wearing a Chicago White Sox cap from the 1980s. Crap like this bothers me. I'm weird that way.
The most difficult songs for me to contribute a post on in TNOCS are the ones I don't love, don't hate, but which I know that Tom and the commentariat are going to praise and embrace far more than I can. That's where I am with "Vogue." For me, a lot of Madonna's best work came in the '90s, but "Vogue" is not part of that best work to my ears. I recognize its legend status, but it's more like a 6 or 7 to me.
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