13 Songs That Feature Names, Vol. 8

Reading Time: 20 min read

13 Songs That Feature Names, Vol. 8 features songs by blackbear, Kim Carnes, Paul Simon, Shirley Caesar, Tame Impala, and TOTO.

Names, names, NAMES. That is the focal point of the 13 Songs That Feature Names, Vol. 8. 13 Songs That Feature Names, Vol. 8 follows seven 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), 12 Songs That Feature Names, Vol. 5 (2025), 13 Songs That Feature Names, Vol. 6 (2025), and 13 Songs That Feature Names, Vol. 7 (2025). 13 Songs That Feature Names, Vol. 8 features songs by blackbear, Kim Carnes, Paul Simon, Shirley Caesar, Tame Impala, and TOTO. So, without further ado, let’s dive right into these NAMES, shall we?

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1. Tame Impala, “Dracula”	2. Laufey, “Snow White”	3. blackbear, “britney in 07”	4. Kim Carnes, “Bette Davis Eyes”
5. Simon & Garfunkel, “Cecilia”	6. mgk, “Orpheus”	7. Cazwell, “Daddy”	8. RYANN, “Mom, Dad, I’m Gay…”
9. Laura Nyro, “Emmie”	10. Jay-Z, Kanye West & Otis Redding, “Otis”	11. Paul Simon, “You Can Call Me Al”	12. TOTO, “Rosanna”
13. Shirley Caesar, “Satan, You’re a Liar”		Songs That Feature Names Series

1. Tame Impala, “Dracula”

Deadbeat » Columbia » 2025

“Run from the sun like Dracula (Hey) / Run from the sun like Dracula (Dracu-Dracula) / Run from the sun like Dracula (Run from the sun) / Isn’t the view spectacular?”

Tame Impala, the Grammy-winning alternative project of talented Aussie musician Kevin Parker (b. 1986), returned in 2025 with their first album in five years, Deadbeat. One of the highlights of Deadbeat was the third track and single, “Dracula”. Parker penned the colorful “Dracula” with songwriter and producer Sarah Aarons. Parker produced it himself.

From an initial listen, “Dracula” is a gem. The production kicks ass and takes names. The groove takes the cake as the best instrumental moment from the accompaniment. But, beyond the groove, the keys, synths, and programming are all on point. Specifically, the haunted, Dracula-like sounds (organ flavors) help set the tone and bring the lyrics to life. Kevin Parker sounds amazing as he sings, bringing the melodies to life and also exhibiting plenty of personality. The songwriting is memorable. “The shadows, yeah, they keep me pretty like a movie star / Daylight makes me feel like Dracula,” Parker memorably sings at the end of the first verse. In the second, he drops a bomb: “Now I’m Mr. Charisma, fuckin’ Pablo Escobar.” Word! He follows the line up with another banger: “My friends are saying, ‘Shut up, Kevin, just gеt in the car.’” Following each verse, Parker unveils the refrain: “In the darkness, I would never leave.” That sounds fitting given the Dracula references. There is also the centerpiece, the chorus, excerpted earlier, in all of its vampirical glory. Vampires and sun don’t mix! The bridge can’t be denied either: “But please, do you think about what it might mean? / ‘Cause I dream about you in my sleep / That you ever love someone like me, like me (Oh).” Tame Impala put their foot into “Dracula”, which earned them their first top 40 single on the Billboard Hot 100. Regardless of the pop success, this haunted song is one of the best of 2025.

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2. Laufey, “Snow White”

A Matter Of Time » Vingolf Recordings / AWAL Recordings America, Inc. » 2025

“Can’t help but notice all of the ways / In which I failed myself, I failed the world all the same.”

That is depressing, downtrodden, and negative, Laufey (Laufey Lín Bing Jónsdóttir). She continues singing in the first verse of “Snow White”, “I don’t think I’m pretty, it’s not up for debate / A woman’s best currency’s her body, not her brain.” Again, depressing, but darkly poetic, and undoubtedly, relatable. I’m a man, and I find myself co-signing these self-deprecating, don’t feel good enough lyrics. The good news is that “Snow White,” the fourth single from the Grammy-winning, Icelandic-Chinese singer/songwriter’s third studio album, A Matter Of Time, is utterly sublime. Laufey penned “Snow White” and produced it with Spencer Stewart.

The songwriting is top-notch. The lyrics are thoughtful and sincere: “But mirrors tell lies to me, my mind just plays along / The world is a sick place, at least for a girl.” Laufey digs in and shows off her vulnerable side. Brilliantly, as she shares her insecurities, she references the fairy tale, Snow White: “Sometimes, I see her, she looks like Snow White / She’s everything I am, but my wrongs are turned to rights.” Her vocals are authentic and beautiful. She sounds incredibly refined every time she sings. She always seems to sing the right notes, with the appropriate dynamics, expression, and emphasis at just the right time. As “Snow White” progresses, Laufey steps up her game, singing more dynamically, giving a bigger performance. Beyond Laufey’s top-notch musicianship, the musical accompaniment is elite. Initially, she’s accompanied by rhythm guitar. The backdrop expands, adding the lush, rich sound of the cello, one of the instruments Laufey plays. “Snow White” is a homerun for Laufey. The only rub: the insecurities she feels! She is beautiful, gifted, and talented!

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3. blackbear, “britney in 07”

“britney in 07” » beartrap sound » 2025

“I feel like Britney in ’07, you about to catch these hands (Pew, pew, pew) / Goin’ through some shit, it seem like no one understands.”

That is quite a statement, blackbear (Matthew Musto)! The statement hails from the single, “britney in 07”, which received an official release in 2025, but dates back to 2020. Blackbear and Andrew Goldstein wrote and produced it. The musical accompaniment shines thanks to a knocking, rhythmic beat, colorful keys and synths, and rhythmic guitar (during the bridge).

As to be expected, blackbear catches the ear with his distinct raspy vocals. Given the theme and lyrics, his instrument is pitch-perfect – tailor-made – for the sugar, honey, iced tea he’s experiencing. There are plenty of striking lyrics from the beginning of “britney in 07,” beyond many references to the troubled pop icon. In the same verse, blackbear sings, “I feel like Gucci Mane the day after he got up out of jail / I don’t have the option or the stamina to fail.” In the second verse, he memorably sings, “I feel like Miley [Cyrus] in that video, the world is on my balls,” and concludes, “I’m ‘bout to shave my head, delete my channel on YouTube, yeah, yeah.” In the pre-chorus, he references Britney’s financial problems and parallels them with his own related to fame, the music biz, etc. In the chorus, he continues his brutal honesty and hopes that 2026 is a better year:

“I feel like shit, I feel like shit

I’ma walk up to my boss, tell him, ‘Suck my dick.’

I feel like shit, I feel like shit

‘26 any worse, I’ma lose my shit, yeah.”

All told, on “Britney in 07”, blackbear brings the heat with his raspy vocals, honest songwriting, and striking production.

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4. Kim Carnes, “Bette Davis Eyes”

Mistaken Identity » Capitol » 1981

“Her hands are never cold / She’s got Bette Davis eyes.”

“Bette Davis Eyes” is a quintessential 1980s song, popularized by Kim Carnes. Penned by Donna Weiss and Jackie DeShannon, DeShannon originally recorded and released it in 1975. Carnes’ definitive version arrived in 1981, appearing on her Grammy-nominated album, Mistaken Identity. Val Garay produced the iconic song where “She’ll turn her music on you,” and “You won’t have to think twice!” The eyes mentioned throughout the song belonged to the legendary Hollywood actress Bette Davis (1908 – 1989). “Bette Davis Eyes” spent nine weeks at number one on the Billboard Hot 100. It was certified gold by the Recording Industry Association of America. Nominated for three Grammys, it won two: Record of the Year and Song of the Year at the 24^th Annual Grammy Awards.

“She’ll take a tumble on you / Roll you like you were dice 🎲.”

Word! Kim Carnes eats on “Bette Davis Eyes”. Her distinct, raspy vocals perfectly capture the memorable, novel lyrics and tuneful melodies. It’s not all about pitch on “Bette Davis Eyes.” Sometimes, there’s playful, talk-singing. Among the playful moments are “She’s precocious and she knows just / What it takes to make a pro blush,” as well as the variation, “She’s ferocious…” Both lyrics appear from the unforgettable, varied choruses:

“And she’ll tease you

She’ll unease you

All the better just to please you

She’s precocious, and she knows just

What it means to make a pro blush

She got Greta Carbo stand off sighs

She got Bette Davis eyes.”

Beyond her memorable vocal performance, the musical accompaniment shines too. This superbly produced record thrives on its quintessential 1980s music cues: guitars, keyboards (synths), drums, drum programming, etc. The minute you hear that riff, you know you’re listening to those Bette Davis eyes! A striking instrumental for a striking oldie! “Bette Davis Eyes” is one of the best pop songs ever.

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5. Simon & Garfunkel, “Cecilia”

Bridge Over Troubled Water » Columbia » 1970

“‘Cilia, you’re breaking my heart / You’re shaking my confidence daily.”

C’mon, Cecilia, girl! “Oh, Cecilia, I’m down on my knees / I’m begging you please to come home.” Honestly, Cecilia could or could’ve been any girl or boy because the sentiment is retable – it’s universal. That said, the legendary, Grammy-winning duo Simon & Garfunkel, comprised of Paul Simon (b. 1941) and Art Garfunkel (b. 1941), made a truly innovative, unforgettable rock/pop/folk gem with “Cecilia”. “Cecilia” is the third track from the duo’s 1970, legendary, Grammy-winning, multi-platinum album, Bridge Over Troubled Water. Simon penned “Cecilia.” Simon & Garfunkel, along with Grammy-winning record producer Roy Halee (b. 1934), produced it. A rousing pop success, it peaked at number four on the Billboard Hot 100. It was certified gold by the Recording Industry Association of America.

The lyrics and melody are marvelous on “Cecilia.” The vocals by Simon & Garfunkel match the strength of the lyrics and melody, of course. The chorus, excerpted earlier, is the cat’s meow. The verse is striking, too:

“Making love in the afternoon with Cecilia

Up in my bedroom (making love)

I got up to wash my face

When I come back to bed

Someone’s taken my place.”

Ooh-wee! Wash my face, huh? Interesting lyric… The “Ohs” that appear at the end of the song during the outro are appealing to, following the “Jubilation, she loves me again,” of course! As catchy as “Cecilia” is, what makes it more intriguing is the innovative approach to the musical accompaniment. The song is anchored by a killer, folky percussive groove. This is the crowning achievement in my eyes. This brilliant accompaniment includes the percussive sounds of acoustic guitar, claps, thigh slaps, and hitting a piano bench. Minimalism at its best, the busy, intricate rhythmic layers are incredibly impressive. “Cecilia” is a prime example of why Simon & Garfunkel were that duo back in the day. To this day, this is a classic that never grows old.

Appears in:

Simon & Garfunkel, Cecilia: Throwback Vibez No. 176 (2025)

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6. mgk, “Orpheus”

Lost Americana » EST 19XX, LLC / Interscope » 2025

“Somewhere in a different realm, we’re still together / Somehow, I’ll find my way to you again.”

Uh-oh, it’s giving tragic loss… Let those deep, emotional lyrics from mgk (Colson Baker) sink in. Those love/relationship-oriented lines hail from “Orpheus”, the 13^th and final track from his seventh studio album, Lost Americana (2025). The second-longest song from Lost Americana, it runs over four and a half minutes. Notably, he penned “Orpheus” with his ex, actress Megan Fox. BazeXX, Dark Waves, No Love For The Middle Child, and SlimXX produced it.

Expectedly, “Orpheus” references mythological figures Orpheus and his wife, Eurydice. After Eurydice tragically dies (“Eurydice died from a viper”), Orpheus is filled with grief (“The girl Orpheus knew he’d die for”). He makes a trip to the underworld and, through his gift of music, convinces Hades to let Eurydice return to Earth. All he has to do is have Eurydice walk behind him and not look back. Easier said than done, as Orpheus, paranoid, looks back and loses Eurydice again, forever. Paralleled in the first verse, mgk asserts, “‘Cause life’s just death if I don’t have you / So I’ll find Hell to be trapped into.” Like Orpheus, mgk wants “To get back to you,” specifically, Megan Fox. In the second verse, beyond the lyric excerpted at the top, he adds, “And gravity’s pull was never stronger / Than my soul’s cord attached to you / I’m lost, but my heart’s got the map to you.” The centerpiece is the chorus, where Orpheus, I mean, mgk, desires to hold her once more – “Feel your heartbeat ‘til it fades / And in this moment, it’s me and you only / I will love you for all my days.” Sandwiched between instrumental moments, including a striking piano-led outro by Jon Batiste, is the bridge, where mgk continues to reflect upon love, stating, “I won’t let you love me, but I can’t let you leave me / It’s a tragedy, and we’ve all seen that scene.” Ultimately, mgk sings authentically, beautifully, and sincerely on this pop ballad. “Orpheus” caps off the critically maligned album in a heartfelt manner.

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7. Cazwell, “Daddy”

“Daddy” » Peace Bisquit / SNOWCONE » 2025

“I love you, daddy / I love you, daddy / Let’s stay together.”

Oh, boy! Somehow, I don’t believe that Cazwell is referencing his father. Take one look at the cover art (shout out Bob Bottle) for the single “Daddy”, and you know what’s going down! A fine, furry man with sick pecs, a toned tummy, and plaid boxer shorts? How could you not objectify Daddy? Damn! Cazwell wrote and produced “Daddy” with MASCFISH, John “J-C” Carr, and Bill Coleman. Also featured as an artist on the track is 808 BEACH. “Daddy” also features an extended version. The sound screams gay club and sheer naughtiness with its sketchy, harder-sounding synths, and that hard-hitting, hella danceable beat.

Beyond the sleekly produced, minor-key backdrop, Cazwell keeps it incredibly gay and NSFW. Would we have it any other way? What a man does in the bedroom, or various other places, is his business, but Cazwell invites us inside. “Met him at a hotel in Montreal / I licked his asshole and he sucked my balls,” he raps, unapologetically in the first verse. He adds, “Bust my nut now it’s on the wall / He calls me daddy. I don’t call him at all.” Oh, snap, rather, oh, jizz… Cazwell doesn’t stop there – there’s more to cum… Some of the gems include, “Got the buns? I got the miracle whip I’m spreading ya,” “Suck me when I’m snoring / Bust me when I’m yawning,” and “Still fucking with this felon / That I met in Oregon / Dick smack me back to the future. Delorean.” Hot mess! Cazwell doesn’t fuck around… well, technically, he does fuck around on “Daddy” 🤭. He brings plenty of personality and dirty, filthy, nasty S-E-X. Fun and risqué, this joint was tailor-made for hot, sweaty gay clubs everywhere!

Appears in:

Cazwell, Daddy: Midnight Heat No. 64 (2025)

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8. RYANN, “Mom, Dad, I’m Gay…”

“Mom, Dad, I’m Gay…” » RYANN » 2025

“And life’s too short to let it guide / By what people might think of you / It’s your life, and you should decide what you want to do.”

Truer words have never been spoken, RYANN (Ryan Adriaens). The young but wise openly gay Dutch 🇳🇱 pop singer/songwriter reflects on his journey to living his truth on his stunning, transparent, and vulnerable single, “Mom, Dad, I’m Gay…” Throughout this pop ballad that the world needs to hear, regardless of sexuality, Adriaens sings authentically, honestly, and sincerely. The mask is off, and most importantly, he has exited the closet, never to go back or be trapped!

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On this sweet record, RYANN provides a brief autobiography. It begins at the tender age of three. As a boy, he admits, “I wanted to look like Snow White / I wanted to wear high heels and a golden dress.” Boys can’t do that, says toxic masculinity… He goes on to speak of his first kiss at the age of 12, with a girl, “But something didn’t feel right, I already knew right then.” Even before his teenage years, young Ryan had the telltale signs he was gay. He shares these signs with gorgeous melodies. The second verse still embraces balladry, but with more groove; a bit more oomph. A teen now, Adriaens admits, “When I was 16 years old, I started to look at guys / I started to fancy them, something I tried to hide.” If you identify as queer, you can relate. The confirmation comes at 18: “I met a guy, who made me realize.” RYANN accepts who he is: “I’m so proud to finally say that I’ve accepted myself.” He was brave enough to come out to those close to him. And, at 21 years old, life is beautiful: “Now I’m 21 years old, dating the perfect guy / My parents love him, too / I’m so grateful.” #Shedding Gay Tears Of Joy 🌈 🥹. “Mom, Dad, I’m Gay…” is another marvelous addition to the LGBTQ music collection. This affirming anthem expresses the importance of living authentically, not being miserable, trapped in the closet. RYANN, you’re the man!

Appears in:

RYANN, “Mom, Dad, I’m Gay…”: Beaming with Pride No. 80 (2025)

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9. Laura Nyro, “Emmie”

Eli And The Thirteenth Confession » Sony Music Entertainment, Inc. » 1968

“Emily and her love to be / Carved in a heart on a berry tree / But it’s only a little farewell love spell.”

Those lyrics are nothing short of magnificent. Short-lived Rock Hall of Famer Laura Nyro (1947 – 1997) was a phenomenal songwriter. She possessed an original, innovative spirit, crafting lyrics and musical accompaniments that were complex and unique. “Emmie” is a prime example of Nyro’s musical genius at work. It is the ninth track from Nyro’s 1968 album, Eli And The Thirteenth Confession. Nyro, who was bisexual but didn’t publicly identify as such, penned this stunning song that is often considered to be a lesbian romantic song. Is it an overt example of such? The poetic lyricism and show select moments where it seems like an indication, but it’s not cut and dry. She produced it with Charlie Calello.

On “Emmie,” Nyro’s top-notch musicianship is on full display. The musical accompaniment is lush, with sublime orchestration. Some of the ear-catching sounds come courtesy of an orchestra, including harp, piano, and vibes, alongside the standard rhythm section instrumentation. Nyro’s vocals are radiant from the beginning, as she expresses desire for Emmie. “Touch me, oh wake me,” she sings in the first verse, and continues, “Emily, you ornament the earth for me.” The latter lyrics also conclude the second verse. Before that, she poetically characterizes Emily as “The natural snow,” adding, “And I swear, I swear you were born a weaver’s lover / Born for the loom’s desire.” Make of it what you will. Although complex, thanks to a unique harmonic progression, unpredictable melodies, rhythms, tempo changes, and unorthodox approaches, Nyro makes it clear that Emmie is/was a special lady in some context. The bridge distinguishes itself from the two verses that precede, particularly the music itself. What isn’t different is the adoration: “Who stole Mama’s heart and cuddled in her garden?” The outro is also starkly different, picking up the tempo. “She got the way to move me, Emmie,” she sings, and continues, “She got the way to move me, yeah.” Regardless of how it is interpreted, “Emmie” is a terrific oldie that speaks to the genius of Laura Nyro.

Appears in:

Laura Nyro, Emmie: Beaming with Pride No. 76 (2025)

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10. Jay-Z, Kanye West & Otis Redding, “Otis”

Watch The Throne » Roc-A-Fella Records, LLC / Shawn Carter » 2011

What happens when Jay-Z, Kanye West, and Otis Redding (1941 – 1967) join forces? Magic, and the song, “Otis”, of course! “Otis” is the fourth track from Jay-Z and Kanye West’s collaborative 2011 album, Watch The Throne. The Throne single peaked at number 12 on the Billboard Hot 100. In 2022, it was certified triple platinum by the Recording Industry Association of America. At the 54^th Annual Grammy Awards, “Otis” won the Grammy for Best Rap Performance. “Otis” features numerous samples, most notably the soul classic, “Try A Little Tenderness” by Otis Redding. The genius of Kanye West behind the boards is on full display. “Otis” features distinct sounds given the old-school samples.

Otis Redding is featured prominently at the beginning of the song, gassing up Jay-Z and Kanye West (“…Some girls, they don’t forget it / Love is their only happiness”). Jay-Z also appears in the intro, memorably asking the audience, “Sounds so soulful, don’t you agree?” With the tone set, “Otis” amps up quickly. The way that the sample is used throughout is brilliant. After his appearance in the intro, Jay-Z draws first blood, delivering a compelling cadence and flow. “Uh, I invented swag / Poppin’ bottles, puttin’ supermodels in the cab,” he spits, and continues, “Proof / I guess I got my swagger back, truth.” Uh! Kanye West follows, matching the energy of Hov in the second verse. “They say I’m crazy, well, I’m ‘bout to go dumb again / They ain’t seen me ‘cause I pulled up in my other Benz,” he asserts, and continues, “Last week, I was in my other, other Benz / Throw your diamonds up ‘cause we in this bitch another ‘gain.”

The way that Jay-Z and Kanye trade verses is awesome. Jay-Z follows in the third verse, continuing to eat the beat up (“Photoshoot fresh, looking like wealth / I’m ’bout to call the paparazzi on myself”). West is on fire, once more, in the fourth verse, bragging, “I made ‘Jesus Walks’, I’m never going to hell / Couture-level flow is never going on sale / Luxury rap, the Hermès of verses / Sophisticated ignorance, write my curses in cursive.” In the sixth and final verse, Jay and ‘Ye join forces on the phrase, “What more can I say?” “Otis” concludes with a bang, rather, gritty howling/ screaming. It is James Brown’s howl sampled from “Don’t Tell a Lie About Me and I Won’t Tell the Truth on You” (“Scream it / Give it / Scream it”). A rap banger for the ages, Jay-Z and Kanye West kill it on “Otis”.

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11. Paul Simon, “You Can Call Me Al”

Paul Simon » Graceland » Paul Simon » 1986

“A man walks down the street, he says, ‘Why am I soft in the middle now? / Why am I soft in the middle? The rest of my life is so hard.’”

What more can be said but WORD. Well, actually, plenty more can be said when it comes to the prolific, profound songwriting of the iconic Paul Simon (b. 1941). “You Can Call Me Al” is the sixth track from his important, critically acclaimed, controversial, Grammy-winning 1986 album, Graceland. “Al” is a prime example of the 16-time Grammy winner at his finest. It reached its respectable peak of number 23 on the Billboard Hot 100 in May 1987. This marked Simon’s highest charting hit on the pop charts since 1980. He penned and produced the track, considered to be among the best of his career.

Simply put, “You Can Call Me Al” has a lot going on. It features South African music and black South African musicians. The music, which fuses Simon’s musical genius and the traditional music of South Africa, is breathtaking, delightful. Simon’s vocal performance is marvelous, bringing tuneful melodies and his gift of lyricism to life. However, Simon’s union with South Africa was controversial for several reasons. His trip to South Africa, collaborating with black South African musicians, broke the cultural boycott on South Africa – Apartheid. Also, while Simon brought attention to South Africa and their music, he earned criticism for cultural appropriation and was involved in “the eye of a political storm that would result in violence and assassination threats”. Musically speaking, the risk was worth the reward, hence the masterpiece that is Graceland and the unforgettable “You Can Call Me Al.”

Beyond the top-notch musicianship exhibited by the instrumental (the arrangement and production are a chef’s kiss), the lyrics are ear-catching. Beginning with the centerpiece, the chorus, Simon sings, “I can call you Betty / And Betty, when you call me, you can call me Al.” Where did the names Al and Betty come from? French composer extraordinaire, Pierre Boulez (1925 – 2016), misunderstood Paul and his then-wife, Peggy Harper’s names. Each of the song’s three verses and pre-choruses is intriguing, too. In the first verse and pre-chorus, excerpted earlier, he seems to reflect on middle age and worries about irrelevance. In the second verse, one of Simon’s role models has become entrenched in scandal (“Who’ll be my role model now that my role model is gone, gone?”). He adds in the second pre-chorus, “All along, along, there were incidents and accidents / There were hints and allegations.” The third verse may be my favorite, and most relevant to Simon’s inspirational trip to South Africa:

“A man walks down the street

It’s a street in a strange world

Maybe it’s the third world

Maybe it’s his first time around

Doesn’t speak the language

He holds no currency

He is a foreign man

He is surrounded by the sound, the sound.”

“You Can Call Me Al” is a crowd-pleasing song. But it is also so much more than that. This is a pop success that goes deeper. This rock/pop classic is jam-packed with social, political, and musical connections. Risky, Paul Simon truly delivered a surefire masterpiece.

Appears in:

Paul Simon, You Can Call Me Al: Throwback Vibez No. 167 (2025)

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12. TOTO, “Rosanna”

TOTO IV » Sony Music Entertainment » 1982

“Not quite a year since she went away, Rosanna, yeah / Now she’s gone, and I have to say.”

Have to say, what, TOTO? “Meet you all the way / Meet you all the way, Rosanna, yeah.” Yeah! The American rock band hit the jackpot in 1982 with the release of their Grammy-winning, multi-platinum, fourth studio album, Toto IV. “Rosanna” is the delightful, five-and-a-half-minute opener. Dave Paich (b. 1954) wrote “Rosanna while TOTO produced it. Steve Lukather (b. 1957) and Bobby Kimball (b. 1947) handle lead vocal duties. “Rosanna” reached number two on the Billboard Hot 100. It earned big accolades from the Recording Academy, winning the highly coveted Grammy for Record of the Year. “Rosanna” has been certified platinum by the Recording Industry Association of America.

“Rosanna” commences with a mean and infectious drum groove. The guitars and keys shine. The versatility of the keyboards is awe-inspiring throughout (more on that later). As “Rosanna” progresses, the horns add some additional bite. The quick-paced, electrifying riffs mark one of the most memorable moments of the song. Lukather and Kimball provide strong vocal performances. Kimball stands out during the second half of the first verse, ascending the octave, amplifying the intensity, and adding some extra snap (“All I wanna do in the middle of the evening is hold you tight / Rosanna, Rosanna / I didn’t know you were looking for more than I could ever be”). Throughout, the songwriting is creative, lyrically and musically. Musically, the harmonic progression is unique, while the key scheme is also unique, keeping the record engaging and never boring. Lyrically, beyond the verses, the pre-chorus and chorus (excerpted earlier), stand out. The first instrumental section (the bridge) is divine, with its polychromatic keys and synths, as well as a bold, ripe electric guitar solo. The outgoing instrumental section is a vibe in its own right, including bluesy, gospelized organ and the jazzy comping keys. Once again, the electric guitar solo doesn’t disappoint, furthering the badassery of “Rosanna.” “Africa” ended up being the biggest song of TOTO’s career, rightfully so. However, “Rosanna” is also a once-in-a-lifetime record, too, showcasing the top-notch musicianship of TOTO. It is a superbly produced pop/rock track. There is a lot to analyze, but as I always say, this masterpiece is best experienced by simply opening your ears and listening in all of its glory!

Appears in:

TOTO, Rosanna: Throwback Vibez No. 194 (2025)

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13. Shirley Caesar, “Satan, You’re A Liar”

Rejoice » Word, Inc. » 1980

“You said I’d never make it / You said I wouldn’t last.”

Who said that, Shirley Caesar (b. 1938)? Why that dastardly, nefarious, no-good Satan! Woo! On “Satan, You’re A Liar”, the pastor and gospel music legend cries foul regarding “the father of every lie.” Without a doubt, Caesar understands how destructive Satan is. “Satan” is the fourth track from Caesar’s 1980 album, Rejoice. Aaron Wilburn (1950 – 2020) penned it.

From the beginning, “Satan, You’re A Liar” is on fire. Fitting, right? Right! The guitar accompaniment is striking, setting the tone of. The percussion, alongside the drums, is one of many selling points. The music has an enigmatic vibe, something that makes it stand out. Something else that makes this uplifting number stand out? It’s set in a minor key! Caesar delivers powerful and nuanced vocals. You buy every word she sings as she refuses to give in to the devil. “I gave my heart to Jesus / You laughed, and I heard you speak,” she sings in the second verse, and adds, “But I’ve walked with the Master / Through the flood and through the fire / And if I learned anything at all / I’ve learned you are a liar.” Lovely strings appear for the first time in the crème de la crème, the dramatic and fierce chorus:

“Satan, you’re a liar, you’re a liar

You should know by now, I know you are a liar

There’s one thing you can’t deny

You’re the father of every lie, you’re a liar.”

Beyond the chorus, there is an intriguing third verse/bridge, where the Pastor keeps the same energy (“I know you’re everything / In this world except my friend”). If there were ever a doubt, Shirley Caesar makes it crystal clear that “Satan, You’re A Liar”!

Appears in:

Shirley Caesar, Satan, You’re a Liar: Music Lifts No. 42 (2025)

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Songs That Feature Names Series on The Musical Hype 🔻

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13 Songs That Feature Names, Vol. 8 (2026) [📷: Brent Faulkner / The Musical Hype; AWAL Recordings America, Inc., beartrap sound, Capitol, Columbia, EST 19XX, LLC, Interscope, Paul Simon, Peace Bisquit, Roc-A-Fella Records, LLC, RYANN, Shawn Carter, SNOWCONE, Sony Music Entertainment, Inc., Vingolf Recordings, Word, Inc.; AOG Pixels, Ciel Fotos, EZEKIXL AKINNEWU, Moose Photos from Pexels; Daniele Barison, Gordon Johnson, Maicon Fonseca Zanco, Petra from Pixabay; Gabriel Martin from Unsplash, Gabriel Martin on Unsplash]

13 Songs That Feature Names, Vol. 8 | Playlist

Published by the musical hype on January 16, 2026January 16, 2026