12 Songs That Feature Names, Vol. 5

Reading Time: 16 min read

12 Songs That Feature Names, Vol. 5 features songs by Artemas, Austin Carr, Billie Eilish, Jack Harlow, Kendrick Lamar, and The Spinners.

Names, names, NAMES. That is the focal point of the 12 Songs That Feature Names, Vol. 5. 12 Songs That Feature Names, Vol. 5 follows four previous names-driven musical compendiums: 13 Songs That Feature Names in Their Titles (2020), 13 More Songs That Feature Names in Their Titles (2020), 13 Songs That Feature Names, Vol. 3 (2023), and 15 Songs That Feature Names, Vol. 4 (2024). 12 Songs That Feature Names, Vol. 5 features songs by Artemas, Austin Carr, Billie Eilish, Jack Harlow, Kendrick Lamar, and The Spinners. So, without further ado, let’s dive right into these NAMES, shall we?

~ Table of Contents ~

1. Kendrick Lamar & SZA, “Luther”	2. The Spinners, “The Rubberband Man”	3. Billie Eilish, “CHIHIRO”	4. Artemas, “Caroline”
5. Jack Harlow, “Hello Miss Johnson”	6. JT, “JT Coming”	7. Austin Carr, “Cornelius”	8. Toni Basil, “Mickey”
9. Tommy Richman, “WHITNEY”	10. The O’Jays, “Brandy”	11. The Kinks, “Lola”	12. The Everly Brothers, “Wake Up Little Susie”

1. Kendrick Lamar & SZA, “Luther”

GNX // pgLang / Interscope // 2024

“She a fan, he a flop, they just wanna kumbaya, nah.” Ooh-wee! Does Kendrick Lamar ever miss the mark? HELL NAH! After making a fine return with his 2022 album, Mr. Morale & The Big Steppers, arguably, he upped his game with the more accessible GNX. Among the best moments from his 2024 album is “luther.” Lamar taps fellow Grammy winner and friend (and “fan”), SZA for the assist on this lush, smooth, melodic rap cut. Why is the song named “luther?” It samples the 1982 Cheryl Lynn cover, “If This World Were Mine”, where she duets with Luther Vandross. Stitching up “luther” are six producers: Sounwave, Jack Antonoff, Roselilah, M-Tech, Scott Bridgeway, and saxophonist, Kamasi Washington. “Luther” debuted at no. 3 on the Billboard Hot 100.

Kendrick melodically raps the first verse. “Hey, Roman numeral seven, bae, drop it like it’s hot / If this world was mine, I’d take your dreams and make ‘em multiply.” Word. SZA arrives in the chorus, singing, “In this world, concrete flowers grow / Heartache, she only doin’ what she know / Weekends, get it poppin’ on the low / Better days are comin’ for sure.” She joins forces with K-Dot on the second half where they describe how they’d change the world. The second verse is more collaborative, focusing on love, sex, and drip (“‘Rari (red), crown (stack), wrist (stay), froze”). The third and final verse continues their collaboration in all of its glory: “I trust you, I love you, I won’t waste your time / I turn it off just so I can turn you on.” Ultimately, “Luther” is nothing short of a surefire V-I-B-E from the fabulous GNX.

~ Table of Contents ~

2. The Spinners, “The Rubberband Man”

Happiness Is Being With The Spinners // Atlantic Recording Corp. // 1976

“You and me, we’re goin’ out / To catch the latest sound / Guaranteed to blow your mind / So high you won’t come down.” Grammy-nominated R&B collective The Spinners struck gold (literally) with “The Rubberband Man”, the fourth track on their 1976 album, Happiness Is Being With The Spinners. This version of the song runs nearly seven-and-a-half minutes. The popular single edit runs just over three-and-a-half minutes. Dynamic duo Linda Creed and Thom Bell composed this soul juggernaut. Bell also produced it. One of seven top 10 hits on the pop charts, the beloved track peaked at no. 2 on the Billboard Hot 100.

“Boy, that Rubberband man’s a doozy / Move so quick, uh, he make me woozy.” Ooh-wee! A distinct, rhythmic riff at the beginning sets the tone. Thom Bell ‘put his foot’ into the musical arrangement and production. MFSB provides the instrumentation, including the killer, funky bass line. Beyond a lit rhythm section are sickening brass and strings, which exemplify the lush, rich Philly soul sound. Philippé Wynne ‘tears it up’ on lead vocals, backed sensationally by the rest of The Spinners and some additional background vocalists. For most of his performance, Wynne sings. He shapes the tuneful melodies in the verses and especially in the chorus. “When I saw this short, fat guy / Stretch a band between his toes,” Wynne sings in the second verse, concluding, “Hey, I laughed so hard / ‘Cause the man got down / When it finally reached his nose.” Oh, snap! Who is this Rubberband Man? Thom Bell’s son, Mark, was a big kid nicknamed “The Fat Man” by his classmates. The song, originally called “The Fat Man,” is about a large man who can really move. It was intended to change the perception and stereotypes of larger people. The chorus is the crowning achievement:

“Hey, y’all, prepare yourself for the rubberband man

You’ve never heard a sound

Like the rubberband man

You’re bound to lose control

When the rubberband starts to jam.”

Ultimately, “The Rubberband Man” is a bop for the ages – one of the most entertaining songs in the soul catalog.

Appears in 🔻:

The Spinners, The Rubberband Man: Throwback Vibez 🕶️🎶 209 (2024)

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3. Billie Eilish, “CHIHIRO”

HIT ME HARD AND SOFT // Darkroom / Interscope // 2024

“Did you take / My love away / From me? Me / Me.” Chihiro, rather, Billie Eilish sings in the refrain of “CHIHIRO”. The five-minute song is the third track from the Academy- and Grammy Award winner’s platinum-certified third studio album, HIT ME HARD AND SOFT. “CHIHIRO” was inspired by Chihiro Ogino, the protagonist from the 2001 Academy Award-winning animated fantasy/adventure film Spirited Away. “CHIHIRO” features beautiful, tuneful melodies. Eilish shows off the radiance of her instrument, particularly in her upper register. Co-written with FINNEAS, the musical backdrop is elite. The sound is rhythmic. There is a ‘cool energy’ for much of the song. Still, the crescendoing synths are ear-catching, adding punch during the bridge.

Beyond the accompaniment and Eilish’s vocals, the songwriting is the biggest selling point – the crème de la crème. Eilish references the film and her life, too. “When I come back around, will I know what to say / Said you won’t forget my name,” she sings in the first verse, adding, “Not today, not tomorrow / Kinda strange, feelin’ sorrow.” In the second, she memorably sings, “Said, ‘I need to be alone now, I’m takin’ a break’ / How come when I returned, you were gone away?” It may be Spirited Away, but it also sounds like matters of Billie’s heart. The ‘chorus’ marks another winning moment:

“Open up the door, can you open up the door?

I know you said before you can’t cope with anymore

You told me it was war, said you’d show me what’s in store

I hope it’s not for sure, can you open up the door?”

“CHIHIRO”, which peaked at no. 12 on the Billboard Hot 100, is superb.

Appears in 🔻:

~ Table of Contents ~

4. Artemas, “Caroline”

yustyna // Artemas // 2024

“Caroline, you should break up with your girl / For the night, let me fucking rock your world.” The keyword from those excerpted lyrics from Artemas’ “Caroline” is fucking. Artemas Diamandis is sexed up throughout his alluring 2024 mixtape, yustyna. With songs like “wet dreams”, “ride me darling”, and “mess of me, sexually”, sex is a big deal. It’s no different in “Caroline,” written and produced by Diamandis, Toby Daintree, and Kevin White. The backdrop kicks ass and takes names. It’s the banging beat, electrifying synths, and prominent bass line.

The chorus raises eyebrows from the jump. Caroline should break up with her girlfriend because you, Artemas, want to have sex with her? You’re encouraging her to cheat, sir? It appears she’s bisexual. “A tidal wave / I like it when you’re in my face,” he sings in the first verse, continuing, “Just like the way you ride her face / Problem is, I like the taste, you like this pace.” Hmm… He adds in the same verse, “Bitches love a broken heart.” The rendezvous (cheating) is pronounced in the second verse. “I can feel you getting close / You been trying not to, but since you took off your clothes,” he sings, adding, naughtily, “You don’t have to tell no one, you tell ‘em anyway / You think that I’m famous way you’re screaming out my name (Caroline).” The naughty artist admits he likes the fact that she’s a cheater and, sadly, advocates it. Despite giving Artemas a serious side-eye, “Caroline” is a ‘fucking’ bop. Mr. Diamandis’ sexcapades are something else, but his music, including his playful vocals with various effects, is a must!

Appears in 🔻:

Artemas, caroline: Midnight Heat 🕛 🔥 67 (2024)

~ Table of Contents ~

5. Jack Harlow, “Hello Miss Johnson”

“Hello Miss Johnson” // Generation Now / Atlantic // 2024

“Other girls? Fuck them / I’d rather touch myself to you than fuck them.” That’s a lyric there, Jack Harlow! The Grammy-nominated rapper is back with “Hello Miss Johnson” which begins with a bang. Jack is falling for (and being charming to) this girl, and he needs to win over her mom, Miss Johnson. Aksel arvid, Clay Harlow (Jack’s brother), Angel López, and Don Cannon produced this cool, jazzy rap joint. Besides groove, the keys are ‘key’ to the success of the musical accompaniment, which sounds incredibly ‘neighborly.’ Watch the creative music video for “Hello Miss Johnson” – it complements the song superbly.

Beyond the entertaining music video and easygoing, ‘neighborly’ production, Harlow is the focus of “Hello Miss Johnson.” His flow is smooth. Even coming from the male perspective, the rapper’s charm is undeniable. Do the lyrics go hard? Nah, but there’s nothing wrong with Jack fantasizing about this girl (“I think about you all the damn time, for real”). In the second verse, he has big plans, asserting “We could go Monaco, take you out on a boat,” adding, “Let’s go to Nice / And give your sister a niece / I’m tryna make the population increase.” Whoa! The chorus is ear-catching, too:

“Hello, Miss Johnson, you know why I’m callin’

You know I’ve been fallin’, fallin’ for your daughter

I think about her often, correct me if I’m wrong, but

Was it you that gave the eyes to her I be lost in? Thought so.”

Jack Harlow has ample rizz. Does he have the bars? Debatable, but if nothing else, “Hello Miss Johnson” is entertaining – a surefire vibe.

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6. JT, “JT Coming”

City Cinderella // Quality Control / Motown // 2024

“What’s up, twin? Why you sittin’ still? / Make that ass clap so I know it’s real / Don’t panic, bitch / You don’t want me to get on my Miami shit.” In case you didn’t know, “JT Coming”! “JT Coming” is the brief but infectious 12^th track from City Cinderella, the debut mixtape by JT of City Girls fame. “JT Coming” features colorful, malicious, minor-key production (Dinuzzo and Kenoe produce). The song heavily samples the 2001 song “Drop” by Timbaland & Magoo (R.I.P.) featuring Fatman Scoop (R.I.P.). As the title suggests, JT warns us repeatedly, “JT Comin’, JT Comin’, JT, JT, JT comin’.” Ooh-wee! Throughout, she serves up cocky, confident, and unapologetic rhymes. “It’s been a while since you gave, ho, it’s time to give it up,” she raps in the second verse, continuing fiercely, “Like a bitch with a fresh BBL, you can’t sit with us.” Oh, snap! She also shouts out her boyfriend, nonbinary rapper Lil Uzi Vert: “But he really rich, big fish, his opps try the same shit / And them niggas really think they flexin’.” Simply put, “JT Coming!”

~ Table of Contents ~

7. Austin Carr, “Cornelius”

“Cornelius” // Austin Carr Music // 2024

“It’s not your fault / You had a really awful year / Sucking him off / And you couldn’t even ride him / Up to the top.” Oh, snap! According to indie singer/songwriter Andrew Carr, ‘We really put our full b*ssies into this song so I hope you like.’ Carr sounds incredibly creative on the self-penned “Cornelius” which conveys a scandalous tale and desecrates at cat’s name ! All for the sake of art, and a fabulous addition to the queer music catalog! Alyssa Wilkens produced this colorful, expressive record where sometimes, you do drastic things to get on top… pun intended.

Carr sets the tone for “Cornelius” with Cornelius’ failed attempts to become a star through sexual favors (“Business romances / That didn’t pay off”). A starfucker, perhaps? Despite his tactics, Carr describes him as a sweet guy who is playing the game. What does he do? Comes running back to Austin, searching for solace and, um, sweet relief. “You’re here to lighten up your load,” he sings, adding, “Every drop / And that’s all I’m fucking good for.” Damn! Notably and rightfully, Carr emphasizes the latter. He’s being used too! Instead of being Cornelius’ main boy, he’s merely an afterthought when “those favors dry up!” Austin, hence, is fed up. In the spirited, tuneful chorus, he sings:

“You don’t like the music that they sing

Never learn their middle names or anything

‘Cause that’s just not worth the time

You just want a puppet for your string

But I’ve got a brain

And maybe I’ll name

Cornelius!”

The bridge expands on the dynamic of their relationship – low-hanging fruit! Austin Carr totally ‘put his full b*ssy’ into “Cornelius”. His voice is beautiful – incredibly nuanced and commanding. The songwriting is impeccable – clever and ear-catching. The melodies are memorable, and the production by Wilkens is top-notch. Austin Carr should never be a ‘non-catch’ – too handsome and too talented!

@austinthecarr

Another lil acoustic sneak peak at “Cornelius” #originalmusic #lyrics #singersongwriter #indiefolk

♬ original sound – austin carr

Appears in 🔻:

Austin Carr, Cornelius: Beaming with Pride 🏳️‍🌈 84 (2024)

~ Table of Contents ~

8. Toni Basil, “Mickey”

Word or Mouth // Toni Basil // 1982

“Oh, Mickey / You’re so fine / You’re so fine you blow my mind / Hey, Mickey / Hey Mickey.” Woo! Toni Basil (1943 – ) struck gold in 1982 with her energetic, infectious song, “Mickey”. “Mickey” was the sixth track from her gold-certified album, Word of Mouth. Not an original 🤯, “Mickey” is a reworked version of the song “Kitty”, released in 1979 by Racey. Despite being a cover, “Mickey” was far more successful than the original, giving Basil her sole top 40 hit. It peaked at no. 1 on the Billboard Hot 100. Mike Chapman and Nicky Chinn penned this stellar, unforgettable, platinum-certified one-hit-wonder.

“Mickey” is a fun, novel song. The 80s music cues are alive and well. Those sounds include keys/synths, guitars, and most importantly, hard-nosed, pummeling drums. Basil delivers playful vocals. Sometimes her vocals are pitched, while at other times, they are chanted and ‘talked.’ Tongue in cheek to the nth degree, Basil milks the silliness of “Mickey” for all its worth, and we wouldn’t have it any other way! “Hey, Mickey / You’ve been around all night / And that’s a little long,” Basil sings in the first verse, continuing, “You think you’ve got the right / But I think you’ve got it wrong / Why can’t you say good night / So you can take me home, Mickey?” Oh, snap! As ear-catching as those lines are, it’s select lyrics from the second verse that raise eyebrows: “So, come on and give it to me any way you can / Anyway you wanna do it / I’ll take it like a man.” Holy moly! For the record, Basil has stated that that lyric is not about “butt-fucking”! We will take her word for it! “Mickey” is a thrilling, novel, and unforgettable 1980s pop song.

Appears in 🔻:

Toni Basil, Mickey: 1 Hit WONDERful 52 (2024)

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9. Tommy Richman, “WHITNEY”

COYOTE // ISO Supremacy / PULSE / CONCORD // 2024

“Baby / You are not the same in my dreams (Ooh-ooh) / If not for anything, for anything.” Tommy Richman has spoken in the chorus of “WHITNEY”, the second single from his debut album, COYOTE. WHITNEY” was penned by Richman and Jonah Roy. Roy produces alongside John Wehmeyer and lim0. Interestingly, the name Whitney is never mentioned in the song. “WHITNEY” features only one verse. Early on, Richman repeats a pair of lines: “If we’re made in the image of God /… Why do things get odd?” He answers, “I don’t know, I said bitch, I don’t know,” before sharing his feelings of disappointment with her. He asserts by the end, “You were always in my dream, but it’s a one-way street / I would never go back, never go back home.” Oh, snap! Beyond that, “WHITNEY” isn’t deep from a songwriting perspective. There is a bridge filled with “No(s).” There is also a spoken outro, where the image of God is mentioned again. The sound of “WHITNEY” is intriguing, characterized by its detuned synths and infectious drum programming groove. Vocally, Richman showcases a wild falsetto and his unique middle and upper register pipes (similar to his other 2024). Ultimately, “WHITNEY” is a vibe, with a bit more of a minimalist, experimental spirit than previous singles he’s released. Do I ‘totally’ get it after several listens? No, but, it’s engaging.

Appears in 🔻:

15 Songs Where the Titles Aren’t Part of the Lyrics (2024)

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10. The O’Jays, “Brandy”

So Full of Love // Sony Music Entertainment // 1978

“But how could it be, she ran away from me / My best friend’s gone, I’m so alone.” “Brandy” is the fifth track on So Full of Love, the 1978 album by the iconic soul collective, The O’Jays. “Brandy” was penned by Charles Simmons and Joseph Jefferson. The Philly soul vibes they’re renowned for are in full effect: strings, primarily, and a tight rhythm section. Thom Bell, one of the great Philly soul proponents, produced the gem. “Brandy” impacted the pop charts modestly, peaking at no. 79 on the Billboard Hot 100.

“I thought I’d get up and take a look around, but my feet got in the way,” lead vocalist Walter Williams sings in the first verse, adding, “Stumbled to the floor, she was right in the door, I could see her face.” She is a dog. Never underestimate the effect of ‘man’s best friend.’ Throughout, Williams sings with incredible nuance and soul. He gets the assistance of the rest of The O’Jays (Eddie Levert and Sammy Strain) in the chorus.

“I really miss you, Brandy, I’m so all alone

When are you coming back home?

I really miss you, Brandy, missing you every day

Are you coming home to stay?”

The chorus is stellar – one for the ages. The melodies are lovely throughout “Brandy”. The lyrics are also clever (“But I was in love when they put it down / Oh, my doorstep in the rain / I could feel it coming to my heart, through my window pane”). The O’Jays excelled at making hits. “Brandy” wasn’t another top 40 hit, but, it is one of their best songs. Williams eats those lead vocals up!

Appears in 🔻:

The O’Jays, Brandy: Throwback Vibez 🕶️🎶 129 (2024)

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11. The Kinks, “Lola”

The Kinks // Lola Versus Powerman and the Moneygoround, Pt. 1 // Sanctuary Records Group Ltd. // 1970

“Well, I’m not dumb, but I can’t understand / Why she walks like a woman and talks like a man.” Hmm, Ray Davies, that is thought-provoking. In The Kinks classic, “Lola”, from the 1970 album, Lola Versus Powerman and the Moneygoround, Pt. 1, Ray and the listeners discover that the ‘woman’ Ray is with is a cross-dresser, transgender, or exploring their identity. There is gender fluidity, which makes “Lola” a song progressive for the time. Throughout, lyrics address gender fluidity and sexual identity. In the second verse, Davies sings, “Girls will be boys and boys will be girls / It’s a mixed up, muddled up, shook up world / Except for Lola.” Before that, Davies learns who Lola is on the bridge: “I pushed her away / I walked to the door / I fell to the floor / I got down on my knees / Well, I looked at her, and she at me.” In the final chorus, the biggest revelation of Lola’s identity occurs: “But I know what I am and I’m glad I’m a man / And so is Lola.” Word.

You would think that the LGBTQ+ elements explored in “Lola” would make it controversial and cause the song to be banned. ‘Censor-shit’ did occur, but not for the expected reasons. “Lola” was a rousing success – it peaked at no. 9 on the Billboard Hot 100 in 1970. So, why was it censored and earned the controversial stamp if it wasn’t for a man’s unknowing encounter with a trans person?

“I met her in a club down in old Soho

Where you drink champagne, and it tastes just like Coca-Cola

C-O-L-A, Cola.”

The offensive lyric is Coca-Cola. Because The Kinks were brand-specific, the BBC banned ” Lola ” because of Coca-Cola – they have a no-advertising policy. Still, a drunken encounter with a trans person, unbeknownst to the protagonist of the song, is progressive for 1970. Davies sings the song he ‘solely’ composed expressively. The guitars sound magnificent, anchored by big, fat bass, and electrifying drums. The melodies are tuneful, with every mention of Lola sounding incredibly memorable. North of five decades later, “Lola” by The Kinks is considered a masterpiece.

Appears in 🔻:

The Kinks, Lola: Controversial Songs No. 9 (2024)

~ Table of Contents ~

12. The Everly Brothers, “Wake Up Little Susie”

The Very Best of The Everly Brothers // Rhino Entertainment Company // 2008

“Wake up, little Susie, wake up / Wake up, little Susie, wake up.” Word. “Wake Up Little Susie” was recorded and released by The Everly Brothers (Isaac Donald “Don” Everly and Phillip “Phil” Everly) in 1957. This is an early pop hit for the duo. “Wake Up Little Susie” was penned by husband-wife, country/pop songwriting duo Boudleaux Bryant and Felice Bryant. This brief number encompasses country, pop, and rock, three musical genres where The Everly Brothers excelled. It features a prominent rhythm guitar as part of the accompaniment. Additionally, the bass line provides a mighty anchor. The groove is utterly infectious, characteristic of the era.

There is great vocal chemistry between the brothers. Their harmonies are ‘everything.’ Besides elite singing, the melody is tuneful in the verses, and especially the centerpiece, the chorus (excerpted above). The lyrics, particularly given the time – the 1950s was a conservative era – are what draw controversy. The problem is that a young, unmarried couple falls asleep past curfew because “The movie wasn’t so hot / It didn’t have much of a plot,” and even though it’s all innocence, the perception will be something much more sexual! “We’ve both been sound asleep / Wake up, little Susie, and weep,” they sing in the first verse, continuing, “The movie’s over, it’s four o’clock / And we’re in trouble deep.” Oh, snap! The verses speak to the direness of the situation. In the second verse, for example, “What are gonna tell all our friends / When they say, ‘Ooh la la’.” The song was banned in Boston, Massachusetts because of its suggestive lyrics. Inoffensive by today’s standards, The Everly Brothers’ “Wake Up Little Susie” is a surefire classic – among the greatest songs ever.

Appears in 🔻:

The Everly Brothers, Wake Up Little Susie: Controversial Songs No. 8 (2024)

~ Table of Contents ~ // ~ intro ~

12 Songs That Feature Names, Vol. 5 (2025) [📷: Brent Faulkner / The Musical Hype; Artemas, Atlantic Recording Corp., Austin Carr Music, CONCORD, Darkroom, DistroKid, Generation Now, Interscope, ISO Supremacy, Motown, pgLang, PULSE, Quality Control, Rhino Entertainment Company, Sanctuary Records Group Ltd., Sony Music Entertainment, Toni Basil; Daniel Adesina, Elias de Carvalho, Godisable Jacob, Maria Marin, NSPD Studios, PAUL REYNOSO, Vitor Diniz from Pexels; Агзам Гайсин from Pixabay]

12 Songs That Feature Names, Vol. 5 | Playlist 🎧

Published by the musical hype on January 1, 2025January 1, 2025