13 Songs That Feature Names, Vol. 7

Reading Time: 19 min read

13 Songs That Feature Names, Vol. 7 features songs by bbno$, Brent Faiyaz, Fountains of Wayne, Frankie Grande, ROLE MODEL, and Tyler Childers.

~ Table of Contents ~

1. Jack Black, “Steve’s Lava Chicken”	2. Frankie Grande, “Glitter Jesus”	3. Brent Faiyaz, “tony soprano.”	4. Role Model, “Sally, When the Wine Runs Out”
5. bbno$, “Mary Poppins”	6. Landan Ash, “Up Next Ash”	7. Tyler Childers, “Oneida”	8. Owen Pallett, “Lewis Takes Off His Shirt”
9. Fountains of Wayne, “Stacy’s Mom”	10. Eminem, “Kim”	11. The Knack, “My Sharona”	12. Funkadelic, “Jimmy’s Got a Little Bit of Bitch in Him”	13. The Spinners, “Sadie”

1. Jack Black, “Steve’s Lava Chicken”

A Minecraft Movie (Original Motion Picture Soundtrack) » Warner Bros. Entertainment Inc. » 2025

Is 34 seconds a sufficient amount of time for weirdness? Yes! Jack Black brought ample joy to many children’s ears with this brief runtime. He plays Steve in A Minecraft Movie. The song that children sing-along with to the top of their lungs is “Steve’s Lava Chicken”. It appears as the seventh track from A Minecraft Movie (Original Motion Picture Soundtrack). Black and Jared Hess penned this silly record. John Spiker produced it. “Steve’s Lava Chicken” cooks from the get-go. It features a potent, infectious percussive groove. The keyboards add to the ear-catching sound, which has 1980s written all over it. The star of the show is Jack Black, who serves up playful vocals filled with personality:

“La-la-la-lava, ch-ch-ch-chicken

Steve’s Lava Chicken, yeah, it’s tasty as hell

Ooh, mamacita, now you’re ringin’ the bell

Crispy and juicy, now you’re havin’ a snack

Ooh, super spicy, it’s a lava attack.”

Ooh-wee! Black delivers a lovely falsetto on his final lines (“It’s a lava attack”). Another nice touch at the end is the metal guitar riff. Ultimately, “Steve’s Lava Chicken” is a blast to listen to. Black broke a Billboard Hot 100 record for the shortest hit song ever. This 34-second song is enjoyable as hell!

Appears in:

Jack Black, Steve’s Lava Chicken: Wacky Wednesday No. 21 (2025)

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2. Frankie Grande, “Glitter Jesus”

Hotel Rock Bottom » Casablanca / UMG Recordings, Inc. » 2025

“I will reflect all the light from the shine of my skin / So you can fuck who you want and get your glam on.” Oh, snap, Frankie Grande! Mr. Grande is a character… understatement. Flamboyant and unapologetic, he is one-of-a-kind, something he confirms on his 2025 debut album, Hotel Rock Bottom. The song at hand, “Glitter Jesus”, is the tenth track. Unsurprisingly, it is fierce and blasphemous to the nth degree. “With the body of techno / With the body of disco,” he asserts in the pre-chorus, concluding, “With the body of Glitter Jesus.” I mean, in the Bible, in Exodus 20, it clearly states thou shalt have no other gods before me, and yet, here is Glitter Jesus, the god of the gay club. #Slay 💅 🤭.

“Glitter Jesus” matches its bold title by being turnt up from the get-go. It features sleek, electronic production from Slush Puppy that is chock-full of synths. The opening synth riff is irresistible to the nth degree. You won’t be able to get it unstuck from your head as much as you try! Tuneful! Of course, our flamboyant Frankie serves up a performance that is fierce to the nth degree, characterized by breathy vocals, rhythmic melodies, and sheer, unfettered naughtiness. Jesus, I mean, Glitter Jesus, states, all-knowingly, in the second verse, “I will absorb all the hate, go get your gay on / Let it bear my faults, let them all scream my name / I will lay down my life so you can sin on.” Let the gay club say, AMEN, AMEN, AMEN 🌈! The centerpiece of the brief but intriguing “Glitter Jesus” is the chorus, where the focus is on our gay lord and savior… 😬 Let me repent in advance:

“All eyes in the club on Glitter Jesus

Throw stacks and drugs on Glitter Jesus

Thigh highs and a strap-on, Glitter Jesus

All eyes in the club on Glitter Jesus.”

Ooh-wee, Frankie!

Appears in:

~ Table of Contents ~

3. Brent Faiyaz, “tony soprano.”

“tony soprano.” » ISO Supremacy / UnitedMasters LLC » 2025

Per Brent Faiyaz (Christopher Brent Wood) via “tony soprano.”, “I’m really a don, no dada / But I take care of everybody / Put that on everybody.” So, the R&B singer-songwriter is channeling his inner Tony Soprano on the single. Credited as the sole writer, Faiyaz enlists eight producers to assemble the track. That’s lots of cooks in the kitchen! But, he reaps the benefits with some satisfying sounds including an enigmatic piano intro, tape strings, water drop sound effect, and the groove. Despite the mob boss persona, Faiyaz sings with a radiant vocal tone. He gets support from sweet-sounding background vocals. When “tony soprano.” fully establishes itself, the melody is tuneful. “These hoes mad fun / Bitch, I’m not that funny,” Faiyaz asserts in the first verse, continuing, “Go ‘head and laugh for me / Know you want that bag from me.” An interlude arrives around the 1:45 mark. The second, verse post-interlude is more rhythmic than the first: “Two new Glocks and two new Rovers, they don’t got rims checked (No) /…Nigga took one of your kin, how he ain’t get blammed yet?” Another outro, the second interlude, concludes the engaging, intriguing, and somewhat unusual “tony soprano.”.

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4. Role Model, “Sally, When the Wine Runs Out”

Kansas Anymore (The Longest Goodbye) » Interscope » 2025

“Well, I met Sally at a late-night dive bar.” Uh-oh, ROLE MODEL (Tucker Pillsbury). Is it a green flag or a red flag? He adds in the first verse of the colorful “Sally, When the Wine Runs Out”, “Heard through a friend she’s a born-again wildcard / She was telling me wild things / Oh, she was telling me wild things.” Oh, snap! Early on, the fifth track from the deluxe version of his sophomore album, Kansas Anymore (The Longest Goodbye), proves to be one of Pillsbury’s best and most intriguing. He co-wrote “Sally” with Annika Bennett. Harrison Whitford and Noah Conrad produced it, playing multiple instruments that comprise the musical accompaniment. The timbre is striking (acoustic guitar, electric guitar, keys), embracing folk, country-western flavored pop/rock, a fitting sound for ROLE MODEL. Notably, Whitford, Phoebe Bridgers’ tour guitarist, performs the solo.

As ROLE MODEL sings about Sally, he sounds beautiful. He never under- or oversings. In the second verse, he reveals, “She grabbed my hand at the intersection / I spilled my guts at the red light.” In the third verse, he is more emotional, vulnerably sharing, “I open up while she’s flipping through pages / Getting lonely as the days get dark.” Beyond terrific lead vocals, upping the ante are stunning vocal harmonies. The centerpiece – the crowning achievement – is none other than the infectious, tuneful chorus.

“Sally

That feeling’s coming around

Please don’t go falling in love

Then disappear when the wine runs out (Hey)

Sally

I’ll buy a couple of rounds

Don’t let me think I’m enough

Then disappear when the wine runs out.”

As awesome as the chorus is, the bridge section matches the brilliance, as Pillsbury sings about falling in love, probably all too quickly 😏: “Aw, shit, here we go again, I’m falling headfirst / Ankles hit the two-step, Sally makes my head hurt.” ROLE MODEL puts both his feet 🦶 and heart ❤️ into “Sally, When the Wine Runs Out”.

Appears in:

ROLE MODEL, Sally, When the Wine Runs Out: Bangerz N Bopz 🔥 No. 63 (2025)

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5. bbno$, “Mary Poppins”

“Mary Poppins” » bbno$ / broke » 2025

“I put the ‘sex’ in ‘sexy’.” The outlandish “it boy”, Canadian rapper and singer, bbno$ (Alexander Gumuchian), dropped a wild single with “Mary Poppins”. He confidently asserts in the infectious chorus that you WON’T be able to get unstuck out of your head, “Shit, I would even undress.” Bbno$ and Diamond Pistols wrote and produced the short but fun joint. Like many of Gumuchian’s songs, “Mary Poppins” is anchored by an electrifying, dance-oriented beat. He straddles the line between pop and rap like a champ.

The sound of “Mary Poppins” is lit. But what everyone comes for are the lyrics, and often, the music video. As always, bbno$ brings his A game when it comes to cadence and flow. The nonsensical lyrics and vibes are a big part of his charm. It is the expectation that Gumuchian is going to deliver playful, ridiculous, and silly lyrics. See verse one: “Girlie strumming on my Jimi, bitches servin’ Hendrix / Wet hair, don’t care, feeling egocentric.” What more can you say but, rock on 🤘?! Confident, in the second verse, bbno asserts his “Dick tantric, got her speaking Spanish / Big toe ring, got her flooded like Atlantis.” Gah-day-um! Also, I can’t neglect to mention those “Diurectics, pissin’ out cash.” And, of course, it doesn’t stop. We get a C.S. Lewis The Chronicles of Narnia reference (“Doors never close on king shit, Aslan”), a reference to Anchorman (“Stay bricked up like Tamland, Anchorman”), and bbno$’s sex appeal (“Sweet talk, two chicks, got ‘em doing handstands”). Yep, “Mary Poppins” is typical bbno$ shit through and through, and we wouldn’t have it any other way. Notably, the music video has generated controversy as bbno$ censored Asmongold in the video due to his ethical beliefs. But the song and wild music video are striking.

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6. Landan Ash, “Up Next Ash”

“Up Next Ash” » Landan Ash » 2025

“He ran into a boy bar / There were dancers on stage / With tips tucked into somewhere where there was no light of day.” Well, that is a more thoughtful, nuanced way to describe where this boy went, Landan Ash (Landan Ash Boyde). The handsome, talented, and gay pop singer/songwriter dropped another scintillating bop with “Up Next Ash”. Interestingly, this song is intriguing thanks to the narrative he imparts about this boy… Ash. And yes, of course, it gets hot! Boyde co-wrote the steamy “Up Next Ash” with producer Wesley Henry.

@landanashb

me trying to blow up my song before it comes out this month #stripper #lgbtq #songwriter

♬ Up Next Ash – Landan Ash

Landan Ash sounds lovely as he tells the story of becoming a stripper in the third person. As mentioned, “Up Next Ash” is hot as he “slips into something that’s real hot” and then, “Dances for strangers / He gets them off / He leaves with a bag that’s full of cash.” Is leaving with money Landan’s big takeaway? It doesn’t seem like it as Ash continues, “But nothing could buy him / What he really lacks.” The gist is broke and desperate, Ash is getting money to strip. While he may be ‘cheapening himself’ to some, Ash informs us, “But back at home he was nothing / So he let himself be bought.” The money provides needed income, but the dancing/sex/sexual favors seem empty, ultimately. Landan asserts that this boy will eventually “know the truth,” singing, “But tonight, it’s his callin’ / ‘Up next Ash,’ / That’s your cue.” Word. “Up Next Ash” qualifies as a sex song given Ash’s occupation at the boy bar, and beyond, but it seems to go deeper than that. Bravo, Landan!

Appears in:

Landan Ash, Up Next Ash: Midnight Heat 🕛 🔥 No. 44 (2025)

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7. Tyler Childers, “Oneida”

Snipe Hunter » RCA » 2025

“Back when the radio spoke to her heart / Oh girls, they wanna have fun.” Indeed, they do, Tyler Childers. The Grammy-nominated Kentucky-born and bred country artist returns with another top-notch song, “Oneida”, which appears on his 2025 album, Snipe Hunter. Childers wrote “Oneida” while Rick Rubin, one of the best in the game, across multiple genres, produced it.

“Oneida, I know that I’m younger than most

But I’m willing if you’ve got the time

To buy us some wine.”

From the beginning, Tyler Childers is on autopilot. The songwriting is spot-on from the thoughtful, narrative approach to the endearing, engaging, and tuneful chorus excerpted above. Not only are the lyrics delightful, but so are Childers’ vocals. He delivers a commanding, dynamic, nuanced, and powerful vocal performance. His tone is elite. Adding to the excellence is the sound of the record – the marvelous accompaniment. Things begin simply with an acoustic guitar. Gradually, the instrumental builds up, adding bass, piano, steel guitar, accordion, fiddle, and last but not least, drums. During the marvelous instrumental section following the second chorus and preceding the third and final verse, Jesse Wells delivers a sweet fiddle solo. With “Oneida”, Childers continues to prove that he is not only one of the Bluegrass state’s finest country musicians but also among the elite in the genre. This song checks off all the boxes, delivering a truly authentic brand of country music.

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8. Owen Pallett, “Lewis Takes Off His Shirt”

Heartland » Domino Recording Co Ltd » 2010

“As soon as I got on the horse, I forgot about the math.” Owen Pallett continues singing on “Lewis Takes Off His Shirt”, “Forgot about the odds against an adolescent standing up to all of Owen’s wrath.” Hmm, is Owen (the character) like Goliath? To alleviate some confusion, our talented violinist, singer, and songwriter is singing from the perspective of Lewis, who wants to kill Owen, the creator. “Lewis Takes Off His Shirt” is the eighth track from Pallett’s 2010 conceptual LP, Heartland. Pallett wrote and produced it. He delivers some of the most accomplished and intriguing music you’ll ever hear.

“Lewis Takes Off His Shirt” begins enigmatically. Even when the relentless, repeated rhythmic lines enter the mix, the song sounds distinct and unusual, truly, one of a kind. The orchestra parts are epic, particularly the riffs, providing ample flavor. The blend and contrast of acoustic and electronic instruments is exceptional. Pallett delivers beautiful vocals, never forcing things. As alternative as this song is, it has its fair share of tuneful moments. Beyond the prodigious musical backdrop, the lyrics, songwriting, and theme are captivating, too, as excerpted earlier.

“The heat of prairie summer is impossible to take

I grab the hem and lift the fabric over my sweet head

I know what you’re looking for, and I’m never gonna give it to you

I’m never gonna give it to you.”

So, what is Owen looking for that Lewis is not going to give to him? The next lines provide answers… sort of. “Government rule established by a dazzling light show / A hegemony armored with a thousand-watt head and seven inches of echo,” Pallett sings, continuing, “I keep up my velocity, my spurs are in her sides / I don’t know what I’m doing, and it is the only way / Toward the range I’ll ride, singing, I’m never gonna give it to you.” Uh-huh. The fun answer is that Pallett is using double entendre, specifically regarding the thousand-watt head and seven inches of echo. Is he intentionally bringing some queerness? The most reasonable explanation centers around hegemony and the concept/theme of Heartland. Also, there are poetic lyrics regarding art, ‘Lewis’ asserting he is a vector, and showing resolve despite fear: “My knuckles grip so tightly my fingers start to bleed / If what I have is what you need / I’m never gonna give it to you.” Taken out of the context of the album, “Lewis” is less accessible. But, there is a heaping dose of ambition and some queerness, too. If the celestial, cerebral sounds of “Lewis Takes Off His Shirt” are a product of losing his top, then Lewis should never wear a shirt, like, EVER. Utterly sublime!

Appears in:

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9. Fountains of Wayne, “Stacy’s Mom”

Welcome Interstate Managers » S-Curve 2 » 2003

Seven memorable lyrics: “Stacy’s mom has got it goin’ on.” Fountains Of Wayne solidified their musical legacy with one song: “Stacy’s Mom”. The third track from their 2003 album, Welcome Interstate Managers, would be their only pop hit. It peaked at number 21 on the Billboard Hot 100. Also, the Recording Industry Association of America certified the single gold. The band has no other RIAA certifications. One-hit wonder, exemplified, thanks to the hotness of not Stacy, but rather, her mom! Chris Collingwood (vocals, guitar) and Adam Schlesinger (bass, backing vocals, 1967 – 2020) wrote the gem while Collingwood, Schlesinger, and Mike Denneen produced it.

The focal point of “Stacy’s Mom” is Stacy’s mom, of course. Written from the perspective of a pre-pubescent/pubescent boy, experiencing the new experience of attraction, he is taken with the hotness of her mom. Asking Stacy to come over after school, Chris Collingwood has questions about her mom: “Did your mom get back from her business trip? / Is she there, or is she trying to give me the slip?” Ooh-wee, buddy! No longer a boy, he adds, “I’m all grown up now, baby, can’t you see?” The pubescent mind is something else. As an adult, it’s mind-blowing how awkward that time is. The boy, I mean, the man, continues to be delulu and enamored in the second verse. In his lawn mowing memory, Collingwood recollects, “Your mom came out with just a towel on / I could tell she liked me from the way she stared.” Bro, I don’t think she likes you the way you say she likes you… “And I know you think it’s just a fantasy / But since your dad walked out, your mom could use a guy like me.” Um, no… You have seen the cases and incidents where adult-minor relationships are inappropriate, right? Well, I guess if he’s a hormone-laden adolescent, he’s not thinking with his brain but rather his… Exuberant and tuneful, “Stacy’s Mom” is irresistible. And honestly, the delusional view of a kid going through those ch-ch-ch-changes is spot on. 2000s pop/rock gold! Rock on! R.I.P. Adam!

Appears in:

Fountains Of Wayne, Stacy’s Mom: 1 Hit WONDERful No. 29 (2025)

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10. Eminem, “Kim”

The Marshall Mathers LP » Interscope » 2000

“Baby, you’re so precious, daddy’s so proud of you,” Eminem (Marshall Mathers) asserts in the intro of “Kim”. He continues, “Sit down, bitch! You move again, I’ll beat the shit out of you!” 😳 In the latter line, Eminem addresses his ex-wife, Kim Scott. That is just one of many instances he refers to her as a bitch. It’s eyebrow-raising, foul language referencing a woman, particularly the mother of your child. “Kim” is the 16^th track from Eminem’s controversial but critically acclaimed, Grammy-winning 2000 album, The Marshall Mathers LP. The track runs for over six minutes in duration. Eminem has a lot to say, and it’s not family-friendly! Mathers, Jeff Bass, and Mark Bass wrote it while F.B.T. produced it.

Judging by the lyrics of the song, the relationship was a train wreck. “Quit crying, bitch! Why do you always make me shout at you?” Eminem asks Kim in the first verse, continuing, “How could you just leave me and love him out the blue?” By the end of the verse, Em informs Kim, “Come on! We’re going for a ride, bitch! /… We’ll be right back, well, I will, you will be in the trunk.” Gah-day-um, Eminem! Again, it is hard to keep up with how many times he refers to her as a bitch. There are many reasons why “Kim” is considered controversial. For one, he doesn’t change names. Kim Scott was his ex-wife. She’s not disguised here or protected, which feels like an asshole move. Eminem, portraying his wild alter ego Slim Shady, doesn’t hold back. He goes whole hog! The biggest reason why “Kim” is controversial is the lyrics, considered to be misogynistic. The lyrics back that up without question. The unsettling chorus is contradictory:

“So long, bitch, you did me wrong

I don’t wanna go on

Living in this world without you.”

Beyond the first verse and chorus, Eminem continues to be one twisted S.O.B. Cruelly, in the second verse, he raps, “There’s a **** year old little **** / Laying dead with a slit throat in your living room.” He self-censored… Backtracking in the same verse, he admits, “You really fucked me, Kim, you really did a number on me / Never knew me cheatin’ on you would come back to haunt me.” Deep stuff… The third verse is no tamer. There’s a “double homicide and suicide with no note.” Yikes 😬. Angrily, at the end of the verse, Eminem bites, “Now shut the fuck up, and get what’s comin’ to you / You were supposed to love me / Now bleed, bitch, bleed! Bleed, bitch, bleed! Bleed!” Is there any reason to explain why “Kim” is controversial? It is self-explanatory. The song doesn’t appear on the edited version of The Marshall Mathers LP, replaced by “The Kids”. It’s not family-friendly nor for the faint of heart. Eminem was straight-up savage 😳 😈!

Appears in:

Eminem, Kim: Controversial Songs No. 17 (2025)

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11. The Knack, “My Sharona”

Get The Knack » Capitol » 1979

“Ooh, you make my motor run, my motor run / Gun it coming off of the line, Sharona.” Doug Fieger (1952 – 2010) was lusting heavily for Sharona Alperin, on “My Sharona”, a certified classic from The Knack. “My Sharona,” the seventh track on the band’s 1979 double platinum album, Get The Knack, was a number one hit on the Billboard Hot 100. It was certified gold by the Recording Industry Association of America®. But, there’s a wee bit of controversy. Doug was 25 when he was ‘taken’ with Sharona, who was 17 … and had a boyfriend. When the song was written, Fieger and Alperin were not dating, but eventually, they were a couple for a while, and they remained friends up until Fieger’s death from lung cancer in 2010. But, it doesn’t take a rocket scientist to figure out that the age range, at the time, was troubling… According to Fieger, in the song, he chose to write from the perspective of a 14-year-old boy. Fieger and The Knack guitarist Berton Averre (1953 – ) wrote “My Sharona.” Mike Chapman produced it.

“My Sharona” is ear-catching for various reasons. One reason is the sexual innuendo. “Never gonna stop, give it up, such a dirty mind / I always get it up for the touch of the younger kind,” Fieger sings in the chorus. Even if this song is from a 14-year-old boy’s perspective, it seems Fieger let his penchant for younger women slip out… Another reason that “My Sharona” stands out is the stuttering: “My, my, my, I, yi, woo / M-m-m-my Sharona / M-m-m-my Sharona.” Fieger also ‘kills it’ with the stuttering in the third verse: “Is it j-just destiny, d-destiny / Or is it just a game in my mind, Sharona?” Beyond the stutters, there are more eyebrow-raising lyrics: “Keeping it a mystery gets to me / Running down the length of my thighs, Sharona.” The sound of “the record shines, too. The drums pummel, the guitar cooks, while the bass line anchors. Berton Averre brings it 🎸 on during the instrumental before the outro 🤘. And, of course, our horny frontman is hella excited vocally, among other places, regarding his Sharona. “My Sharona” raises eyebrows, yet, hard to deny the infectious nature or success of this risqué rock classic.

Appears in:

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12. Funkadelic, “Jimmy’s Got a Little Bit of Bitch in Him”

Standing On The Verge Of Getting It On » Westbound » 1974

“Jimmy’s got a little bit of bitch in him.” Um, excuse me? Say what, now, Funkadelic 👀? “The bitch in him / Upsets the Jim.” Wow 😮. You read and heard correctly, folks! And, at least the words rhyme – him and Jim, that is! “Jimmy’s Got a Little Bit of Bitch in Him” is the sixth/penultimate track from the band’s 1974 album, Standing On The Verge Of Getting It On. George Clinton and Grace Hazel Cook wrote this bitchy song about Jim. Initially, you would think this might be a controversial, potentially homophobic, and narrow-minded portrayal of a non-heterosexual man. That is not the case. Promoting acceptance, “Jimmy’s Got a Little Bit of Bitch in Him” was progressive for the time.

From the get-go, “Jimmy’s Got a Little Bit of Bitch in Him” is playful and tongue-in-cheek. The song is infectious with sing-along vibes. The chorus, excerpted above, is EVERYTHING. Beyond the superb sung vocals, there are spoken, narrated vocals that philosophize about Jimmy:

“Reality can be a-stiff sometimes

But then again, it can be flexible

Depending on the angle of the dangle

Increased by the heat of the meat

And with the proposition that all men are not created equal

So why frown?

Yeah, even the sun go down

We’ll call it mixed emotions for now

Play on, Jimmy.”

Maybe philosophize is too generous… Sure, we get “all men are not created equal,” but there is also speak of stiffness, dangling, and meat… 👀 The second narrated section is similar, incorporating words like hard, a-swinging, and that dangle again. Funkadelic makes their point that not every man is built the same, and in the case of Jimmy, he is not into women. Musically, “Jimmy’s” is the sugar, honey, iced tea, too. There are sickening riffs, specifically from the guitar and piano. Digging into the musical underpinnings, there are some badass harmonic moments. Not only were Funkadelic progressive in thought (Note: I’m not sure if saying someone has bitch in them would fly today, mind you 😏 ), but the music slays, slays, slays! 10 out of 10! “Jimmy’s Got a Little Bit of Bitch in Him” equals totally bitchin’ 🤭 🤘!

Appears in:

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13. The Spinners, “Sadie”

New And Improved » Atlantic Recording Corporation » 1974

“In a world like today / It’s a rare occasion to be able to see young mothers / Like the ones that were around when I grew up,” Philippé Wynne (1941 – 1984) speaks in the intro of “Sadie”. The late, great former lead vocalist of The Spinners, continues speaking, touchingly, “But they live on in memory to quite a few of us / And this song is dedicated to those who cherish that memory.” The intro sets the tone for one of the iconic Philly soul collective’s best songs. Sure, the sixth track from their 1974 album, New And Improved, performed modestly on the pop charts (it peaked at number 54 on the Billboard Hot 100), but the song thrives from its high level of musicianship, poignancy, and sophistication. “Sadie” was written by Bruce Hawes, Charles Simmons, and Joseph B. Jefferson. It features a fine harmonic progression that extends behind basic I, IV, and V. Thom Bell produced it. As always, the music oozes in Philly soul. The opening instrument riff during Wynne’s spoken intro is quite memorable.

The songwriting is one of the biggest selling points of “Sadie.” The lyrics show gratitude for Mama. “Filled with her load of glory / We learned the holy story,” Wynne reminisces in the first verse, continuing, “She’ll always have her dreams / Despite the things / This troubled world can bring.” In the second verse, he characterizes Sadie as “Sweeter than cotton candy / Stronger than papa’s old brandy / Always that need smile.” While the verses superbly characterize the awesome woman she was, the section to beat is the tuneful chorus.

“Oh, Sadie

Don’t you know we love you, sweet Sadie

Place no one above you, sweet Sadie

(Living in the past)

Sometimes, it seems so funny

But no money will turn your life around.”

Here, Wynne is supported by top-notch backing vocals, including The Spinners (Bobby Smith, Pervis Jackson, Henry Fambrough, and Billy Henderson) and additional background vocals by Linda Creed and The Sweethearts of Sigma. The blend is nothing short of harmonious – celestial to the nth degree. The final chorus is extended, with Wynne marvelously ad-libbing and riffing, backed by these stunning vocalists. “Sadie” is nothing short of sensational. Timeless, timeless, timeless!

Appears in:

~ Table of Contents ~ » ~ intro ~

13 Songs That Feature Names, Vol. 7 (2025) [📷: Brent Faulkner / The Musical Hype; Atlantic Recording Corporation, bbno$, broke, Capitol, Casablanca, Domino Recording Co Ltd, Interscope, ISO Supremacy, RCA, S-Curve 2, UMG Recordings, Inc., UnitedMasters LLC, Warner Bros. Entertainment Inc., Westbound; AcatXIo, Pete Linforth from Pixabay; Fahad Khan on Unsplash, Gabriel Dizzi on Unsplash, Houcine Ncib on Unsplash, Jennifer Marquez on Unsplash, Kingsley Osei-Abrah on Unsplash, Pierre Bamin on Unsplash, Mihaela Claudia Puscas on Unsplash, Tide_trasher_x on Unsplash]

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Published by the musical hype on September 12, 2025September 12, 2025