So, as Phil pointed out here, Julian Sanchez lays the meme down for “one of the two guys at Dial M.” He gets both. My iPod is somewhat less interesting than Phil's because I don’t use it to teach, so such embarrassment as is to be found there has even less excuse.
1. Adam Sandler, “Werewolves of London.” I love Warren Zevon, though not this song particularly, and Sandler’s version is on the tribute CD Enjoy Every Sandwich. Actually, the whole CD, minus a track or two only, is superb.
2. The Sweet, “Ballroom Blitz.” Glam-rock poseur excess from long ago. So shriekingly over the top that I love it.
3. Rick Springfield, “Jessie’s Girl.” I’ll wait while you visit the vomitorium. The fact is that good pop Works, and nothing is more pop than a covetous, libidinous male teen, from whose perspective this song is sung. I also like “My Best Friend’s Girlfriend” (the Cars) and “The Breakup Song” (the Greg Kihn Band), but neither is half as embarrassing as this.
4. Mott the Hoople, “Ride on the Sun.” This is the demo track for “Sea Diver,” a bonus track off the reissue of All the Young Dudes. No, I am not partial to glam-rock, but I always liked Mott; the prominent piano and valedictory lyrics on top of the witting teen angst always seemed a felicitous mix. I never felt Ian Hunter was pandering or talking down, no matter how old he got, and I always liked the preachy ones, like “Hymn for the Dudes” off Mott. I like “Sea Diver” a lot; the demo version (keyboards added later) is also nice, but to my mind makes absolutely no sense lyrically at all. Encore!
5. Van Morrison, “These are the Days.” One of the songs from the Hugh Grant—uhh, “vehicle”—Nine Months. In Morrison’s Christian phase, though at times seems to toggle back to yang-yin stuff. I’ve always loved the sound of his country/gospel-tinged ballads (think “And It Stoned Me” or “Tupelo Honey”), and this is one.
I know. Too Much Information. It's summer, though . . .