13 Songs That Feature Names, Vol. 6

Reading Time: 17 min read

13 Songs That Feature Names, Vol. 6 features songs by Benjamin, Gerardo, Jake Wesley Rogers, Josie Cotton, Lana Del Rey, and Tyler, The Creator.

Names, names, NAMES. That is the focal point of the 13 Songs That Feature Names, Vol. 6. 13 Songs That Feature Names, Vol. 6 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), 15 Songs That Feature Names, Vol. 4 (2024), and 12 Songs That Feature Names, Vol. 5. 13 Songs That Feature Names, Vol. 6 features songs by Benjamin, Gerardo, Jake Wesley Rogers, Josie Cotton, Lana Del Rey, and Tyler, The Creator. So, without further ado, let’s dive right into these NAMES, shall we?

~ Table of Contents ~

1. Jake Wesley Rogers, “God Bless”	2. Lana Del Rey, “Henry, come on”	3. Benjamin, “Tommi (seksipommi)”	4. Cloudy June, “if Jesus saw what we did last night”
5. Japanese Breakfast, “Orlando in Love”	6. Tyler, The Creator, “Judge Judy”	7. Juno Lev, “I had gay sex with god (it could’ve gone better)”	8. blink-182, “Adam’s Song”
9. Gerardo, “Rico Suave”	10. R. Kelly, “Sadie” – The Spinners cover	11. Josie Cotton, “Johnny, Are You Queer?”	12. Kiss, “Christine Sixteen”
13. Alice Cooper, “Cold Ethyl”

1. Jake Wesley Rogers, “God Bless”

In The Key Of Love // Facet / Warner // 2025

“Momma’s little gun on the back of your head / Got a little drunk, ordered jockstraps on the internet.” Two lines into “God Bless”, Midwest-bred pop singer/songwriter Jake Wesley Rogers is locked in and loaded. The openly gay musician expresses how complicated sexuality is from the pressure of loved ones (such as mom) and desiring to be yourself (those jockstraps, which are gay, gay, gay). Wesley Rogers continues in the first verse from the sixth track of his 2025 debut album, In The Key Of Love, “You taste just like honey on cornbread / I feel so alone when you’re not in my bed.” Regardless of your sexuality, those lines should resonate. Rogers penned this thrilling ballad alongside Greg Wells. Mike Sabath produced it.

From the beginning, Rogers spoils us with his fabulous vocals. His tone is terrific, while his ad-libs and riffs give you chills. He sings authentically and sincerely. The second verse is as impressive as the first. “We’re having car sex in a business park / Like we’re the last couple on Noah’s ark,” he sings honestly and memorably. His ‘bread is buttered’ in the chorus, which excels melodically and lyrically:

“God bless the straight man in a dress

God bless threesomes when I’m celibate

God bless doing mushrooms with an atheist

God bless, it’s a beautiful fucking mess

God bless the trans kid in Texas

God bless the gods that don’t exist

Sometimes I wish it all would end

But, God bless, it’s a beautiful fucking mess.”

Supporting Rogers in the post-chorus are choral vocals, which are everything. They give off gospel vibes. Beyond the singing and songwriting, the musical backdrop is incredible, too. The arrangement and production are never overdone – it is just right. As awesome as the instrumental is, Mike Sabath ensures that the focal point is Jake Wesley Rogers. Is there any way you can listen to the blessing that is “God Bless” and not beam with pride? Nope! It is awesome!

Appears in :

Jake Wesley Rogers, God Bless: Beaming with Pride ️‍ 27 (2025)

~ Table of Contents ~

2. Lana Del Rey, “Henry, come on”

“Henry, come on” // Lana Del Rey / Universal Music Operations Limited // 2025

“And it’s not because of you / That I turned out so dangerous / Yesterday, I heard God say, ‘It’s in your blood.’” Grammy-nominated singer/songwriter Lana Del Rey remains ‘true to herself’ (alt-pop) while simultaneously entering into her country music era. “Henry, come on” sounds familiar and ‘different.’ She co-writes with Grammy winner Luke Laird who is known for country music. Laird and Drew Erickson produced it. Positively, “Henry, come on” is another gorgeous song Del Rey. The music backdrop begins spare, led by guitar accompaniment, but grows more lush as the song expands. The sound palette includes piano, organ, bass, drums, and strings. The vibe is alt-pop, country, and folk. Del Rey shines vocally, delivering her signature indulgent, moody performance. Her tone is sublime. Even as ‘moody’ as she might sound at times, Lana blesses our ears with her upper register, which is always a treat. Another pro regarding “Henry, come on” is the songwriting. As always, Lana has a story to tell, and she adds some country sensibilities (“It’s last call, ‘Hey, y’all’ / Hang his hat up on the wall / Tell him that his cowgirl is gone”). Tried and true, “Henry, come on” is beautiful, though not the most exciting song. While peasant and respectable, this five-minute-plus record does not necessarily move the needle.

~ Table of Contents ~

3. Benjamin, “Tommi (seksipommi)”

“Tommi (seksipommi)” // Warner Music Finland // 2025

“Oh Tommi, Tommi, hey neighbor Tommi / When did you become a sex bomb?” That is a good question, Benjamin (Benjamin Peltonen). Our handsome and talented Finnish pop star has his eyes on his neighbor, who has ‘glowed up’ something fierce. “Tommi (seksipommi)” (“Tommy (Sex Bomb)”) is sung exclusively in Peltonen’s native language, Finnish. Peltonen composed “Tommi” alongside Iivari Suosalo and producer Atso Soivio. “Tommi (seksipommi)” features sleek, pop production work. It is perfect for this gay pop record. Benjamin serves up smooth vocals. Despite being enamored with ‘Tommi,’ it never sounds as if he breaks a sweat. We know he is sweating though (“Oh Tommy…/ You have become a goddamn sex bomb / Would you like to have a sleepover [or go out] again?”). Peltonen sings in his lower register during the verses. In the first verse, everything seems to stop as the hottie walks into the bar. In the second, Peltonen wants him badly. In the pre-chorus, he still can’t believe that Tommi is the same Tommi next door (“Everyone stares at you / I can’t even recognize you”). “Tommi (seksipommi)” features tuneful melodies throughout. The enthusiastic, big chorus is the centerpiece, thanks to Tommi,” of course! There is a fabulous contrast during the bridge, which is energetic and maintains the ‘high-flying’ nature of the record (“We don’t need our moms’ approval / To have fun ‘til sunrise”). Benjamin ‘does the damn thing’ on “Tommi (seksipommi)”. This queer pop single is a surefire gem!

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4. Cloudy June, “if Jesus saw what we did last night”

“If Jesus saw what we did last night” // Cloudy June // 2025

“If Jesus saw what we did last night…” Uh-oh… this sounds sketchy, Cloudy June. The feminist and queer musician (she identifies as bisexual) continues singing in the chorus of “If Jesus saw what we did last night”, “He’d be comin’ back to life.” Holy shit! She is referencing the resurrection of Jesus, of course. The other miracle cited? “He’d turn water into wine.” Spirituality is prevalent throughout “If Jesus saw what we did last night”, though the most devout and pious may cry foul. I doubt Cloudy June cares. The Berlin singer wrote “Jesus” alongside Cy and Maarten Paul. Philip Strand and Paul produced it.

Sex is the modus operandi of “If Jesus saw what we did last night.” No shit, Sherlock! “When you touch me there, it’s a miracle / Biblical affair,” Cloudy June sings in the first verse. Damn! In the second verse, she asserts, “[I] Can’t escape the feelin’ it’s physical / You’re my prophecy, baby.” Yep, that is a big, heaping dose of blasphemy! In the chorus, she describes their body as holy, claiming, “I’m floatin’ like an angel / You brought me down to my knees.” Amen… I mean, SACRILEGE! Ultimately, “If Jesus saw what we did last night” is fun and stirs the pot. Cloudy June sings beautifully, expressing her sufficiently and unapologetically expressing her desires. Sex-positive, she speaks to being unashamed to be with who you choose and ‘do’ what you choose. Backed by a dark, minor key, sleekly produced backdrop, “Jesus” sounds celestial… in a dark, twisted way.

Appears in :

~ Table of Contents ~

5. Japanese Breakfast, “Orlando in Love”

For Melancholy Brunettes (& sad women) // Dead Oceans // 2025

“Orlando in love / Writes 69 cantos / For melancholy brunettes and sad women.” Word. Those are ear-catching lyrics. Furthermore, Michelle Zauner sings them beautifully in “Orlando in Love”. “Orlando in Love” is the promo single and second track from the Japanese Breakfast album, For Melancholy Brunettes (& sad women). Notably, Zauner mentions the title of the alternative band’s album in the lyrics. Although the song is relatively brief at two-and-a-half minutes in duration, it is S-W-E-E-T. It commences with rhythmic guitar accompaniment. Eventually, gorgeous strings enhance the accompaniment. Other colorful instrumental touches enter the mix, making “Orlando” sound even lovelier and more picturesque. Zauner brings this gem to life with awesome vocals, radiant melodies, and poetic songwriting. Another example of lyricism in all its glory: “The breeze carries salt / And sipping milky broth / He casts his gaze toward the sea out the Winnebago.” Classy and enigmatic, “Orlando in Love” is utterly sublime.

Appears in :

Intriguing Songs Fueled by LOVE, Vol. 5 (2025)

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6. Tyler, The Creator, “Judge Judy”

CHROMOKOPIA // Columbia // 2024

“I met this girl named Judy at the cafe ‘round my way / Her breasts were near her chest, and she had curls that hid her face.” And thus begins “Judge Judy” by Tyler, The Creator. If you couldn’t tell, the song is sexually charged to the nth degree. He continues singing (rapping melodically) in the first verse, “Her legs were Eiffel Tower, I could tell her daddy Black (Ah) / Peanut butter jelly toasted in her lap.” “Judge Judy” is the seventh track in his 2024 album, CHROMOKOPIA. Tyler, The Creator penned and produced this joint about his relationship with Judy.

If the first verse of “Judge Judy” was tame, Tyler is more sexual in the second verse. He goes into detail about what he and Judy do. “We started swapping spit, and then she got on top of me (She got on top of me),” he spits before listing the sexual happenings on the table. “Body rubs, bondage, and creampies, we could play / Around in public, any cum is now a fetish,” he raps, continuing, “Giving oral is my passion / You could ride my face…” D-d-d-damn! In an interlude before the final verse, Tyler further confirms his freak: “And she was great with women, exhibitionist /… I lean voyeur, so it worked out.” By the third verse, the sexual nature of “Judge Judy” falls by the wayside. After she stops communicating with Tyler, he receives a letter from her written before she died from cancer (“If you’re reading, it’s too late / I’m on the other side…”). Beyond the lyrics and narrative, “Judge Judy” stands tall as another stellar song from TTC. The sound palette is radiant, and Tyler’s vocals are well-rounded.

Appears in :

Tyler, The Creator, Judge Judy: Midnight Heat 7 (2025)

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7. Juno Lev, “I had gay sex with god (it could’ve gone better)”

when they find your body // Milkboy // 2021

“I spent all of last night in god’s bed / Mom, please don’t get upset / ‘Cause now I’ll be immortalized / I’ll be immortalized.” Ooh-wee, Juno Lev (Jack Braun, who formerly performed as Jackfruit), I’m speechless ! Anytime spirituality is woven into music, it creates a compelling, thought-provoking listen. “I had gay sex with god (it could’ve gone better)” is a prime example of a song with spiritual elements that easily catches the ears. The open-minded and progressive souls will eat this up, while those who are the most god-fearing will cry foul. “I saw god in a Trader Joe’s / Buying organic blueberries / Prettiest man I’d ever seen.” Noted, Juno Lev. “I had gay sex with god (it could’ve gone better)” is the fourth track from their 2021 EP, when they find your body. Juno Lev produced this LGBTQ gem with the talented Zach Benson.

After god kissed Juno Lev, with dried apricots in one hand, they assert, “I think my teeth are gonna rot.” The other experiences with god (Lev uses ‘god’ lowercased throughout) are questionable too, including “Lips sliding open in a prayer” (a blowjob), and stating that sex with him was “As close to heaven as I’ll get”. Arguably the best line: “Second coming in a bathroom stall / But now god won’t return my calls, wrote him a love letter.” Holy shit! Beyond mixing queer sex and god, the music is heavenly on “I had gay sex with god (it could’ve gone better).” The electronic sound palette (keys and pads) shine. The drum programming and snaps that arrive during the second verse are sweet. The snare drumming is a superb touch. Of course, Lev is the star, singing expressively and gorgeously. They are authentic to the nth degree, even as the lyrics are playful… and blasphemous . Adding to the allure are tuneful melodies from the get-go. Oh, and how about one final lyrical shout-out? At the end, can I get an “Amen, ah men?” Perhaps the sex could’ve gone better on “I had gay sex with god (it could’ve gone better)”, but the song remains a surefire, queer-to-the-nth-degree bop! We Stan!

Appears in :

Juno Lev, I had gay sex with god (it could’ve gone better): Beaming with Pride ️‍ 35 (2025)

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8. blink-182, “Adam’s Song”

Enema of the State // Geffen // 1999

“I never thought I’d die alone / I laughed the loudest, who’d have known? / I trace the cord back to the wall / No wonder it was never plugged in at all.” Heavy stuff. An understatement! It is surprising where the heaviness comes from: blink-182. Tom DeLong, Mark Hoppus, and Travis Barker aren’t renowned for being serious, particularly early on in their career. That said, on “Adam’s Song”, the often unserious trio tackled teenage suicidal thoughts. “Adam’s Song” is the seventh track from their 1999 album, Enema of the State. According to American Songwriter, Hoppus stated, “the initial inspiration for ‘Adam’s Song’ came to him when he was feeling lonely while on tour.’ It evolved to become even more meaningful with an anti-suicide message.

The controversial song comes from the perspective of Adam as he reflects on his sad, lonely life as he plans his demise. “The choice was mine, I didn’t think enough / I’m too depressed to go on / You’ll be sorry when I’m gone.” Hard to listen to considering every life is precious – a gift. In the chorus, varied each time, Adam is at his breaking point given his lot of life.

“I never conquered, rarely came

Sixteen just held such better days

Days when I still felt alive

We couldn’t wait to get outside

The world was wide, too late to try

The tour was over, we’d survived

I couldn’t wait till I got home

To pass the time in my room alone.”

Depressing. The good news is that by the end of the song, the suicidal teen acknowledges, “Tomorrow holds such better days,” and “I can’t wait ‘til I get home / To pass the time in my room alone.” So, beyond dabbling in depression and suicide, what else made “Adam’s Song” controversial? A Columbine High School teenager, Greg Barnes, who played “Adam’s Song” on repeat, coping with the murder of his best friend, committed suicide in 2000. This, naturally, caused it to be criticized, despite its anti-suicide message. “Adam’s Song” was never banned, though the band stopped playing it live, but not due to the teen’s tragic suicide.

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~ Table of Contents ~

9. Gerardo, “Rico Suave”

Mo’ Ritmo // Interscope // 1991

Two words: “Rico Suave”. Sometimes, Ecuadorian rapper Gerardo is wrongfully characterized as a one-hit wonder. “Rico Suave,” the third track from his 1991, gold-certified album, Mo’ Ritmo, is his only top 10 hit on the pop charts (it peaked at number seven on the Billboard Hot 100). The gold-certified song is what the fine, chiseled rapper is best remembered for. Gerardo and Christian Warren wrote “Rico Suave” while Erika Mitchell produced it. Notably, the song samples James Brown (“Give It Up or Turnit a Loose” and “Funky Drummer”) and Daiquiri (“Chamo Candela”).

“Rico Suave” is hella groovy from the onset. The groove is percussion-heavy and representative of the 1990s. Of course, “Funky Drummer” plays a key role . Additionally, there is a big fat bass line – always a blessing! In a playful song, it comes as no surprise that there are plenty of corny, tongue-in-cheek moments. “My only addiction has to do with the female species”, Gerardo raps in the first verse, adding, “I eat ‘em raw like sushi.” Ooh-wee! Notably, he raps in English and Spanish:

“A ver: uno, dos, tres, cuatro mujeres

Y la situación ahí no muere

No es un delito, calmo mi apetito

Con un llanto o un grito.”

He brings a respectable cadence and flow. Do his raps yield anything transcendent? No, but the rhymes are fun. “I don’t love ya but I need ya / Would you rather have me lie,” Gerardo raps in the second verse, concluding, “Take a piece of your pie and say bye / Or be honest and rub your thighs.” Ultimately, “Rico Suave” is a banger from the 1990s.

Appears in :

Gerardo, Rico Suave: Bangerz N Bopz 35 (2025)

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10. R. Kelly, “Sadie” – The Spinners cover

12 Play // Zomba Recording LLC // 1993

“This song goes out to my mother / The one I love and the one I lost.” Sigh, it is hard to adore a song and be repulsed by the musician who performs it. R. Kelly is NOT a good person. For far too many years, fans, including myself, gave him a pass because we adored his music. A talented individual, his deplorable ways and sins have dimmed a remarkable catalog of music. One gem is “Sadie”, the 10^th track from his 1993 album, 12 Play, a cover of The Spinners 1973 classic “Sadie”. Originally dedicated to an awesome, caring mother who is no longer with us, Kelly also dedicated his cover of the ballad to his late mom, Joanne Kelly, who died of cancer in 1993.

The lyrics from the original are retained in Kelly’s cover. He does tailor the intro to his mama, speaking poignantly over gospel-tinged organ. The sound of this 1993 version features more contemporary production compared to the original recorded nearly 20 years earlier (he produced it). The sound is characteristic of the R&B that dominated the 90s. His voice sounds terrific from start to finish. The vocals are soulful to the nth degree, particularly the ad-libs, as the energy of the song progresses to higher heights. Before knowing or accepting how bad he was as a person, the authenticity and honesty of this performance and dedication to his mother are undisputed. Even knowing now that he has been monstrous, listening to his take on “Sadie,” you hear beauty. The chorus is where his bread is buttered, assisted by background singers. “Sadie” is truly beautiful from someone who showed themself to be utterly ugly, unfortunately.

Appears in :

~ Table of Contents ~

11. Josie Cotton, “Johnny, Are You Queer?”

Convertible Music // Kitten Robot // 1982

“And I saw you today, boy / Walking with them gay boys.” Hmm, what is your point, Josie Cotton? How do you know that the boys are gay, and what is wrong with Johnny hanging out with them? It’s giving homophobia, girl, depending on who you ask. “Now you hurt me so / Now I gotta know / Johnny, are you queer?” Oh, boy! It should come as no surprise why “Johnny, Are You Queer?” is controversial. The eyebrow-raising pop/ New Wave song appears on Cotton’s 1982 debut album, Convertible Music. Larson Paine and Robert Paine penned this sus classic. It was first recorded by the Go-Go’s [hear the live recording here], but Cotton was the first to release it. To provide even more context as to why Josie asks about Johnny’s sexuality: “When the lights are low / You never hold me close.”

Songs about sexuality lend themselves to controversy. Such songs can be more controversial when there is a lack or perceived lack of nuance. That is the problem with “Johnny, Are you Queer.” Musically, this is a bop and a half! The driving instrumental ‘kicks ass and takes names.’ Cotton’s vocal performance is playful, and she brings plenty of attitude. But the lyrics are problematic. If Johnny is in a ‘committed’ relationship with Josie (or her character) and is not being open about his sexuality, he is wrong. However, the way that she judges him assumes his friends are gay and tries to force a romance that is a non-starter, that is nothing short of a hot mess. I mean, if he is gay, it is unlikely he will embrace a relationship with you… Interestingly, gays and conservatives cried foul about this song. The gays thought she was homophobic. Conservatives thought she was promoting homosexuality. Go figure! Sadly, per RETROPOP, the song was used in conversion therapy. Yikes. Ultimately, while “Johnny, Are You Queer” is problematic lyrically, it is a song that should be taken with a grain of salt. It gives a heaping dose of camp.

Appears in :

~ Table of Contents ~

12. Kiss, “Christine Sixteen”

Love Gun // Kiss Catalog, Ltd. / The Island Def Jam Music Group // 1977

“‘I don’t usually say things like this to girls your age, but when I saw you / Coming out of the school that day, that day I knew, I knew, I’ve got to have / You, I’ve got to have you.’” Boy, oh boy! Those lyrics from the Grammy-nominated hard rock band Kiss (Gene Simmons, Paul Stanley, Peter Criss, and Ace Frehley at the time) are nothing short of problematic! Gene Simmons wrote, and sings lead vocals on “Christine Sixteen”, the second track from Kiss’ 1977 album, Love Gun. Eddie Kramer played keyboards on the track and produced it alongside the band. “Christine Sixteen” peaked at number 25 on the Billboard Hot 100. Despite its success, it provides a catalyst for discussion.

“Christine Sixteen” is an enthusiastic song, set in a major key. From the jump, the musical cues are terrific. These include the jubilant piano ostinato (Kramer), jagged guitar riffs, a prominent bass line, and pummeling drums. Simmons sounds excellent singing lead, showing off assertive and energetic vocals. The chorus, “Christine sixteen / Christine sixteen,” is tuneful to the nth degree. But we must address the problematic nature of this song – it is rightfully controversial.

The sexual innuendo is through the roof. This would not be a problem if age were not in the mix. Simmons was pushing 30 when “Christine Sixteen” was released, and he is addressing a 16-year-old student… Yikes! In the first verse, Simmons asserts, “She’s got me in her hands / And there’s no use in pretending.” Use your imagination about what body part of him is in her hands… In the second verse, Simmons continues to be taken by her, singing, “She drives me crazy / I want to give her what I’ve got.” Hmm, and what is that exactly? And again, where is that something located, Gene? And, to reiterate, in that second chorus, excerpted above, Gene confirms the troublesome age gap… Look , “Christine Sixteen” is a rock classic, but as memorable and tuneful as it is, the theme and lyrics are disturbing.

Appears in :

Kiss, Christine Sixteen: Controversial Songs No. 13 (2025)

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13. Alice Cooper, “Cold Ethyl”

Welcome to My Nightmare // Atlantic Recording Corporation // 1975

“One thing I miss / Is Cold Ethyl and her skeleton kiss.” Pardon me, Alice Cooper (1948 – )? “We met last night / Making love by the refrigerator light.” Are you seeing a pattern here? Cold, refrigerator, and Ethyl, which is not only a variation on Ethel but also an abbreviation for the ethylene… Ethyl is dead… Her body is cold… This man enjoys the company of Cold Ethyl, sexually (necrophilia), and also struggles with alcohol, which contains ethanol. “Cold Ethyl”, the seventh track from Cooper’s 1975 album, Welcome to My Nightmare is ‘something else’ but, also, incredibly clever. Cooper and Bob Ezrin (1949 – ) penned “Cold Ethyl.” Ezrin also produced it.

“Ethyl, Ethyl, let me squeeze you in my arms

Ethyl, Ethyl, come and freeze me with your charms.”

Yep, Ethyl is cold… Cooper emphasizes this, describing her as “Frigid as an Eskimo Pie” and confirming that she’s dead in the second verse. Welcome to My Nightmare, indeed! There are plenty of other highlights from this odd joint. Expectedly, in the third verse, we learn, “Ethyl don’t have much to say.” Wonder why?! In the fourth and final verse, Alice asserts, “If I live till ninety-seven / You’ll still be waiting in refrigerator heaven.” Yikes! “Cold Ethyl” is one of a kind. The musical backdrop cooks with its mean-sounding, distorted guitars, a prominent bass line, and a kick-ass drum groove. As for Alice Cooper, his vocal performance is filled with attitude – the spirit of hard rock alive and well. Honestly, only Cooper could record such a song as this one .

Appears in :

Alice Cooper, Cold Ethyl: Wacky Wednesday No. 12 (2025)

~ Table of Contents ~ // ~ intro ~

13 Songs That Feature Names, Vol. 6 (2025) [: Brent Faulkner / The Musical Hype; Atlantic Recording Corporation, Cloudy June, Columbia, Dead Oceans, Facet, Geffen, Interscope, Kiss Catalog, Ltd., Kitten Robot, Milkboy, The Island Def Jam Music Group, Warner, Warner Music Finland; Beatriz Fernandes, cottonbro studio, Cup of Couple, Deni’s Fotografia, Jonathan Borba, Leonardo Goncalves wild, Nathan Cowley from Pexels; AcatXIo, Pete Linforth, Thomas from Pixabay]

13 Songs That Feature Names, Vol. 6 | Playlist

Published by the musical hype on May 9, 2025May 9, 2025