15 Marvelous ME and Only ME Songs | Playlist

15 Marvelous ME and Only ME Songs features songs by Ariana Grande, Felix Jaehn & Cascada, David Allan Coe, George Benson, Kevin Lyttle, and Tracy Chapman.  

Ayy, Felix Jaehn & Cascada! George Benson also had something ME-worthy to say, oh, to the tune of, “‘Cause there’s music in the air / And lots of lovin’ everywhere / So GIMME the night.”  The late, great David Allan Coe also had something to say about M-E: “But you don’t have to call ME darlin’, darlin’ / You never even call ME by my name.”  The common thread between Felix/Cascada, George, and David: ME, ME, MEEEEE! The criterion for 15 Marvelous ME and Only ME Songs is simple: each song must feature the word ME in its title. 15 Marvelous ME and Only ME Songs features songs by Ariana Grande, Felix Jaehn & Cascada, David Allan Coe, George Benson, Kevin Lyttle, and Tracy Chapman. So, without further ado, it’s time get super selfish and embrace – wait for it – MEEEEE!

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~ Table of Contents ~

1. Felix Jaehn & Cascada, “boy you turn me”	2. Ariana Grande, “hate that i made you love me”	3. George Benson, “Give Me the Night”
4. Victoria Monét, “Let Me”	5. Alok & Khalid, “Dive Into Me”	6. Tracy Chapman, “Give Me One Reason”
7. ZAYN, “Die For Me”	8. Jessie Murph, “Touch Me Like A Gangster”	9. Grant Brett, “Watch Me”
10. Sasha Keable, “tell me what you want”	11. Kevin Lyttle, “Turn Me On”	12. Sukihana, “Up On Me”
13. Falco, “Rock Me Amadeus”	14. David Allan Coe, “You Never Even Called Me by My Name”	15. Nina Simone, “Take Me To The Water”

 

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1. Felix Jaehn & Cascada, “boy you turn me”

boy you turn me » Collaection GmbH » 2026

Woo! Nonbinary and pansexual German DJ and record producer Felix Jaehn (he/she/they) and German dance project Cascada (Natalie Horler) join forces for a badass dance bop in “boy you turn me”. “Boy you turn me” sounds familiar, in some respects, for good reason.  It samples a Diana Ross classic, “Upside Down”. “Boy you turn me” was written by Jaehn, Maegan Cottone, Georgia Meek, Troy Miller, and Xoro. Jaehn, Miller, Xoro, and Luca Eck produced it.

From a first listen, “boy you turn me” screams gay club. The thudding beat sets the tone – stomping right onto the dancefloor! It’s the house piano, robust bass line, and the driving, percussive, scintillating groove that propels this turning experience! The sound palette is vibrant. Besides the work that Felix and company contribute, Natalie Horler eats on vocals.  Yes, it’s been nearly two decades since Cascada’s “Everytime We Touch” days, but Nat’s vocals still slap.  She brings plenty of attitude to this fun joint. “I should know better by now,” she sings in the first verse, and adds in the second, “Baby, I’m not blind / Lovin’ you’s like rolling the dice.” Word.  Later, in the third verse, Horler admits, “Baby, it’s all fun / ‘Til you take my heart and you run / Boy, you got me spun / Don’t let go, now I’m coming up.”  Restless, in the pre-chorus, Natalie adds that she’s “Dancing on the edge / Of this chemical feeling / High heels on the ceiling.” Of course, the centerpiece is the chorus excerpted earlier.  It expands:

“Said upside down, you’re turning me

You’re giving love instinctively

‘Round and ‘round, you’re turning me

I say to thee, respectfully.”

Ooh-wee!  A banger and bop through and through, Felix Jaehn and Cascada put in work on the irresistible “boy you turn me”.

Appears in 🔻:

Felix Jaehn & Cascada, boy you turn me: Beaming with Pride No. 36 (2026) Bops from 2026 That Make You Beam with Pride

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2. Ariana Grande, “hate that i made you love me”

petal » Babydoll Music / Republic Records » 2026

Those are some descriptive, poetic, and powerful lyrics that Ariana Grande sings in the first verse of “hate that i made you love me”, the promo single from her eighth studio album, petal. There are plenty of ear-catching, unforgettable lyrics, brought to life by the high-flying, prodigious pipes of Grande. “Hate that i made you love me” was written and produced by Grande, ILYA, and Max Martin. Once again, Ari strikes gold.

“Hate that i made you love me” excels for many reasons.  First and foremost, the gifted Ariana Grande is the lead artist.  She has one of the best voices ever.  She shines, once more, as she brings the tuneful melodies and memorable, thought-provoking lyrics to life.  “You studied my crown and borrowed my body,” she asserts in the second verse, and adds, “Warm kissed by the sun, then cold like the wind / A bee stuck in honey.” Oh, snap! The pre-chorus is intriguing in its own right, where Ari sees through things and declares, “It’s all bad news.” The chorus, unsurprisingly, is the crème de la crème, highlighting the titular lyric.

“Yeah, I, I, I hate that I made you love me

Sorry if I made me your type

Yeah, I, I hate that I made you love me

‘Cause I barely tried, yeah, I, I, I.”

Word. Like many a great pop song, there is a sublime bridge connected to the verses and chorus, affirming Grande’s stance.  Further affirming the excellence of “Hate that i made you love me” is the mellow yet vibrant musical accompaniment. I love the coolness and smoothness of the synths and keys, which suit Ari’s sophisticated pipes. While this song is a bummer thematically because of forced love, there is nothing to hate about it – it’s quality pop.

Appears in 🔻:

Striking Bops from June 2026 15 Songs Where LOVE is the Name of the Game (2026)

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3. George Benson, “Give Me the Night”

Give Me the Night » Warner Records Inc. » 1980

Ooh-wee! George Benson (b. 1943) is a prodigiously talented musician.  One of the greatest guitarists to ever play, he’s also an incredible vocalist. Incredibly versatile, Benson is equally adept in jazz, pop, and R&B/soul.  “Give Me the Night”, one of four top 10 hits, shows Benson flexing in R&B music, with smooth jazz vibes in play, too. His highest charting hit, reaching number four on the Billboard Hot 100, is the fourth track from his 1980 album of the same name. It was written by the late, great Rod Temperton (1949 – 2016), who was renowned for composing epic pop hits such as “Thriller” by Michael Jackson. Quincy Jones (1933 – 2024) produced it. “Night” earned Benson one of his 10 Grammys, winning deservedly for the award for Best R&B Vocal Performance, Male at the 1980 Grammys.

“Give Me the Night” kicks off with an incredibly clean and potent groove, a tasteful guitar riff, and a tight, locked-in band. George Benson impresses with his easygoing but highly expressive, nuanced, and soulful vocals. His tone is celestial, while his phrasing is impeccable. “Whenever dark has fallen / You know the spirit of the party starts to come alive,” he sings in the first verse, and concludes, “You can throw out all your blues and hit the city lights.” Beyond his lyrical singing, Benson’s scatted vocal moments are equally amazing, characterized by their light, rhythmic nature.  Beyond George’s refined pipes, the same can be said of the background vocals, including Patti Austin (b. 1950), which contribute to the jazziness of the track.  The chorus, excerpted earlier, is the crème de la crème.  The bridge distinguishes itself from the verses and chorus. The songwriting is related, but the harmonic progression and key contrast.

“So come on out tonight, and we’ll lead the others

On a ride through paradise

And if you feel all right

Then we can be lovers ‘cause I see that starlight look in your eyes

Don’t you know we can fly?”

The extended outro continues the sophisticated musical experience, including awesome lead and background vocals, gorgeous strings, and biting brass. Ultimately,  George Benson gives us five minutes of greatness with “Give Me the Night”. 

Appears in 🔻:

George Benson, Give Me the Night: Throwback Vibez No. 55 (2026) 13 GIVE Songs Where It’s Giving Greatness (2026)

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4. Victoria Monét, “Let Me”

“Let Me” » RCA » 2026 

So, Victoria Monét, what would happen if I let you hold me? According to the Grammy-winning R&B singer-songwriter on “Let Me”, she’d be a “ride or die.” Ooh-wee! The nearly five-minute ballad marks another consistent, engaging, and sound musical offering from the talented artist.  She penned “Let Me” with Joshua Brown, Jeff “Gitty” Gitelman, Tiyon “TC” Mack, B. Mack, and producer Camper.

“Let Me” begins with soulful sounds of old. It is sleekly produced with lush sounds, banging drum programming, including some 1980s-like drums. Victoria Monét delivers an ultra-smooth vocal performance.  She sounds calm, cool, collected, refined, and sensual.  Ooh-wee, that’s a lot of adjectives! The section to beat is the memorable chorus:

“Let me be your ride or die

Let me love you back to life, babe

Let me give you peace of mind

You know I’ma ride with you, rain or shine.”

There is a great extension of the chorus via the post-chorus: “Baby, if you let me.” Other notes include the great selective use of harmonized vocals during the second verse.  This helps keep the record engaging.  Furthermore, the bridge is sweet where “Patience ain’t a crime / I been waiting for this moment all night / To get you out of your way / And show you life.” “Let Me” may not be quite the juggernaut that “On My Mama” was, but it’s another enjoyable and well-rounded addition to her musical catalog.

Appears in 🔻:

Striking Bops from February 2026

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5. Alok & Khalid, “Dive Into Me”

“Dive Into Me” » Alok Music/ B1 Recordings/ Sony Music Entertainment » 2026

Oh, snap! That sounds S-E-X-Y. Please, continue! “Temporary love / Wasn’t meant to last this long.” Ooh-wee, steamy 😮‍💨! So, what happens when Brazilian 🇧🇷 musician, DJ, and record producer Alok (Alok Achkar Peres Petrillo) and American 🇺🇸 R&B/pop singer-songwriter Khalid (Khalid Robinson) join forces? Three words: “Dive Into Me”. Also, you can add ‘surefire dance-pop bop’ to the characterization. “Dive” was written by Alok, Khalid, Kaitlyn Elyse Dunstan, Alex Metric, Paul Harris, Bas Bron, OHYES, and CASTLE. Alok, Alex Metric, Paul Harris, and OHYES also produced it.

“Dive Into Me” cooks from the start, beginning with warm, melodious synths. One of the defining features is the dynamic, danceable beat.  The groove is relentless. Alok and his fellow producers serve up some colorful musical cues throughout; the sound palette is on point. Khalid ate and left no crumbs with his vocal performance.  His singing can be described as gorgeous, refined, and buttery smooth. Never forcing things, Khalid never sounds as if he breaks a sweat.  He is commanding but never opts for gospel histrionics.  Besides his solo lines, there are some nicely harmonized vocal moments.  Thematically, it’s all about those pesky matters of the heart. “Fall into my arms and say I’m yours again,” he sings in the second verse, and adds, “…I’m way too inside of my head, please show me your heart.” In the pre-chorus, he asks, “Can you hold me? I’m lonely / And I don’t wanna waste another life.” You might say, he’s so serious ‘bout it! The chorus is the sugar, honey, iced tea, in all its tuneful and memorable glory:

“Can you be the one

Be the one to hold me every time

Take your love and show me if it’s mine

Be the one-and-only

‘Cause I fall like raindrops that roll on the cheek

I feel love was the ocean, I’m divin’ into deep

Dive into me, dive into me, dive into me

Be the one-and-only.”

All told, “Dive Into Me” is an entertaining, well-rounded collaboration between Alok and Khalid.  High-flying vocals, relatable songwriting, and vibrant production make this a scintillating bop.

Appears in 🔻:

Alok & Khalid, Dive Into Me: Beaming with Pride No. 48 (2026)

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6. Tracy Chapman, “Give Me One Reason”

New Beginning » Elektra Entertainment » 1995

Sounds reasonable to me! Had Tracy Chapman (b. 1964) only landed one hit, “Fast Car”, the singer-songwriter would’ve solidified her musical legacy.  But Chapman earned another hit, eight years later, with “Give Me One Reason”. “Give Me One Reason” is the ninth track from her 1995 multi-platinum album, New Beginning.  It debuted on the pop charts in 1996, where it earned Chapman her highest-charting hit.  It bested ‘88’s “Fast Car,” peaking at number three on the Billboard Hot 100.  Adding to the accolades, it was certified platinum by the Recording Industry Association of America.  Nominated for multiple Grammys, “Reason” won Chapman her fourth and most recent Grammy for Best Rock Song. Chapman composed this 1990s classic and produced it with Don Gehman.

“Give Me One Reason” begins in minimalist fashion.  The primary instrument is the guitar, outlining a bluesy, folksy harmonic progression.  This turns out to be a brilliant tone-setter.  Following the instrumental intro, Chapman delivers superb vocals performing the centerpiece; the chorus, excerpted earlier.  She continues singing, “Said I don’t wanna leave you lonely / You gotta make me change my mind.” Chapman’s contralto vocals are expressive and nuanced. She never sounds like she breaks a sweat.  Following the first chorus, more musical accompaniment enters the mix during the first verse (bass, drums).  The guitar riffs compel as Tracy informs us, “Baby, I got your number / Oh, and I know that you got mine.” Ooh-la-la. During the second chorus, keyboards (organ) and background vocals help to expand the backdrop.  It’s never too much; always just right. Chapman delivers two consecutive verses, composed like a blues.  In the second verse, “I don’t want no one to squeeze me / They might take away my life.” Oh, snap! In the third and final verse, she states, “This youthful heart can love you, yes / And give you what you need.”  Between those verses, shout-out to the compelling, incredibly smooth, and rhythmic guitar solo. Take one listen to “Give Me One Reason”, and it’s understandable why this was a big-time hit, particularly in the mid-90s.

Appears in 🔻:

Tracy Chapman, Give Me One Reason: Throwback Vibez No. 56 (2026)  13 GIVE Songs Where It’s Giving Greatness (2026)

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7. ZAYN, “Die For Me”

KONNAKOL » Drop Zed Music, LLC / Mercury Records » 2026

Oh, snap, better yet, oh, shit, ZAYN (Zayn Malik)! The emotion runs rampant on the “PILLOWTALK” hit-maker’s single, “Die For Me”.  “Die For Me” is the fifteenth track from his fifth studio album, KONNAKOL.  Malik penned “Die” alongside NEA, James Essien, Victor Thell, Nick Hahn, Stefan Johnson, Jordan K. Johnson, and Isaiah Tejada. Lots of cooks in the kitchen, or rather, in the studio writing music! The Monsters & Strangerz, Tejada, Thell, and Hahn produced it.

The first verse only reveals a piece of the emotional, heartbroken pie of “Die For Me.” In the second verse, a frustrated ZAYN asserts, “I’ll sleep just fine without you.” Ooh-wee. The pre-chorus is varied each time.  However, in both versions, Malik is upset with her lies and “those empty words you were spitting out.” The chorus is the crème de la crème, led by the titular lyrics:

“You said you would die for me

… Don’t leave me now when I need you the most

Gave you my heart, don’t you dare let it go.”

There is also a brief bridge and the outro, both highlighting the disappointment of her NOT dying for him.  ZAYN sings beautifully and expressively throughout this R&B-infused, compound duple, minor-key pop record.  His falsetto is particularly ripe during the chorus.  The melodies are tuneful, keeping the same energy as the devastating lyrics.  The final piece of sheer excellence is the dramatic, sleek production.  The musical accompaniment gives ZAYN ample fuel for the fire – a cinematic backdrop that is tailor-made to his utter heartbreak. All told, our handsome and talented, heartbroken pop singer-songwriter does his big one on “Die For Me”.

Appears in 🔻:

Striking Bops from February 2026

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8. Jessie Murph, “Touch Me Like A Gangster”

Sex Hysteria » Columbia » 2025

Oh, snap, Jessie Murph! Truly, WE LISTEN AND WE DON’T JUDGE! “I’d like to know, how far you gon’ go? / How far we gon’ go?” she continues in the pre-chorus. The Alabama-bred pop singer-songwriter brings the sass and the spice on “Touch Me Like A Gangster”, a single and highlight from her sophomore album, Sex Hysteria. Although the sex is progressive, “Touch Me Like a Gangster” has a classic, incredibly refined sound.  Bēkon, Laura Veltz, and Jeff “Gitty” Gitelman produced this pop track with retro and vintage-sounding vibes (old-school pop and a dash of soul). The most impressive part of the song is the vocals. Murph sounds distinct from the first note, showing off her gritty, sultry, and throaty vocals. I love how Murph’s voice cuts – like scissors, baby! Of course, the sex can’t be ignored.  It is part of the charm and success of the song as well. Despite appreciating his tenderness, in the first verse, Murph informs him, “Boy, I got a sign that you’ll wanna see, baby.” In the second verse, she asserts, “You look like you like whips and chains, won’t you do something insane, baby?” Ooh-wee.  The section to beat, the crowning achievement, the crème de la crème, is the chorus.  It is bold, tuneful, and unforgettable to the nth degree!

“I’ll tell you this, my love

I do not give a fuck

I want you on your worst behavior

Touch me like a gangster

Rock me, baby boy, give it hell

This bed ain’t gon’ break itself.”

Damn, girl! Naughty, naughty, naughty, “Touch Me Like A Gangster” is that surefire guilty pleasure you aren’t able to resist.

Appears in 🔻:

15 Incredibly Likable LIKE Songs (2025) 15 More Marvelously Tactile Touch Songs (2025) 60 Best Songs of 2025 A Terrific Collection of T Songs (2026)

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9. Grant Brett, “Watch Me”

“Watch Me” » Dark Dance » 2025

Ooh-wee! Boi, ya betta slay 💅! Grant Brett is fearless when it comes to his music.  He keeps it brief on “Watch Me”.  Even so, as the chorus, excerpted above, relays, that is plenty of time for him to titillate the sugar, honey, iced tea out of us!  From the jump, “Watch Me” is turnt up! Those synths are intense and nasty! The seedy vibes convey the dancefloor of a hot, sweaty gay club! The sickening musical backdrop is the perfect fuel for Brett’s fire. If the infectious, sexed-up chorus weren’t enough, he drops a pair of flirty, freaky, playful, and unapologetic verses.  “If you talk how I like / You know I could bounce all night,” he asserts in the first verse.  “You should show me what you like / I know I could match your vibe  (Yeah, daddy),” he sings in the second, adding, “You should just cross that line / I’ll burn my image in your mind.”  Damn, Grant! Short but sweet, Grant Brett slays, PERIOD 💅 💅 💅!

Appears in 🔻:

Watch: 5 Gems No. 11 (2026)

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10. Sasha Keable, “tell me what you want”

ACT II » The Flight Club Records Limited / Sasha Keable » 2026

Ooh-la-la, it’s getting “Hot In Herre”, Sasha Keable! The queer British/Colombian R&B singer-songwriter brings the heat without question on her steamy single, “tell me what you want”, which appears on her 2026 album ACT II.  Who has Keable hot and bothered? Whoever this lady is that Sasha sings about throughout the record. Keable penned “tell me what you want” alongside P90pope and producers Eddie Lopes, Charlie Pitts, and Kent Azares.

Sasha Keable doesn’t hold back on “tell me what you want.” At the end of the first verse, she asserts, “Got me bitin’ harder on your necklace / Girl, just wanna thank you for your service.” Day-um! Sasha is more overt in the second verse, singing, “Fuck is a break when I’m on all fours for you? / Told me you ate, well, here I got some more for you.” 😈 😈 😈 Keable keeps it risqué in the pre-chorus following each verse, including the likes of “Your fingers so deep inside my body 👀,” and “Break it down, do your little dance on my body / Couple grand keep it real nasty for me.” That, of course, leads to the centerpiece, the chorus, in all its glory. Sasha praises this girl something fierce, given her inspired sexual performance:

“Ain’t gotta keep countin’

Stay down there till you’re drownin’

Still got endless rounds left

Girl, you make me the proudest

You done made me up a plateful

On my knees, I’m so grateful

Feels so good inside, I could die.”

Oh, and the sex doesn’t stop there, extending in the post-chorus.  All the while, Keable impresses with her commanding and soulful pipes.  She sings about sex expressively, and it’s easy to buy what she’s selling! Beyond her fabulous voice, tuneful melodies, and risqué lyrics, the production and sound of “tell me what you want” is impressive (keys, programming, etc.).  All in all, Sasha Keable ate and left no crumbs on this queer, contemporary R&B gem. 

Appears in🔻:

Sasha Keable, tell me what you want: Beaming with Pride No. 12 (2026) Striking Bops from February 2026 13 Songs Where YOU Are the Focus, Vol. 6 (2026) Bops from 2026 That Make You Beam with Pride

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11. Kevin Lyttle, “Turn Me On”

Kevin Lyttle » Atlantic Recording Corp » 2004

Damn, it seems like it was yesterday that those lyrics were tearing up the airwaves.  Unfortunately, yesterday was more than two decades ago 👀. Vincentian singer-songwriter Kevin Lyttle (b. 1976) hit it big ONCE. While being a one-hit wonder can be a hard pill to swallow, some musicians never earn that big pop hit. Soca, calypso, and reggae music rarely ignite the pop charts on their own. But Lyttle found the perfect formula in an infectious, irresistible, and totally unforgettable song, “Turn Me On”.  As previously stated, “Turn Me On” was a big deal back in 2003 (I was still in high school 👀). Lyttle’s only charting single, which graced his 2024 gold-certified, self-titled debut album, reached number four on the Billboard Hot 100.  It went on to be certified gold by the Recording Industry Association of America. “Turn Me On” was written by Lyttle and Madzart. Adrian Bailey produced it. The 112 song, “All My Love”, is sampled.

So, what made “Turn Me On” the sugar, honey, iced tea? First and foremost, the buttery, smooth, sugary sweet vocals of Kevin Lyttle.  His pipes are golden, pure, and sound nothing short of celestial.  Lyttle sings with ease, never sounding as if he breaks a sweat.  He navigates the tuneful, rhythmic melodic lines like a champ.  The theme and lyrics are easy to digest as well.  Matters of the heart, more like matters of the bedroom, drive “Turn Me On.” As suggestive as the song gets, it still feels innocent given Lyttle’s sophisticated vocals.  In the first verse, she’s “winin’” on him, which is S-E-X-U-A-L dancing.  He adds, “If you think you’re gonna get away from me /… You’re going home with me tonight.” Who didn’t see that coming? The second verse is not innocent, no matter how angelic Lyttle sounds: “Then I whisper in her ear to wine harder / And then she said to me / ‘Boy, just push that thing, ah / Oh, push it harder back on me.’” No explanation necessary.  The chorus, excerpted earlier, is the crème de la crème – the crowning achievement.  Adding to the allure of “Turn Me On” is the production and sound.  It’s sleek AF, with its keys, synths, and relentless groove.  Lyttle may have only struck gold once, but this joint still slaps decades later!

Appears in 🔻:

Kevin Lyttle, Turn Me On: 1 Hit WONDERful No. 21 (2026)

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12. Sukihana, “Up On Me”

“Up On Me” » Sukihana/AWAL Recordings Ltd. » 2025

Ooh-wee, Sukihana (Destiny Henderson), you’re a bad girl! The rapper keeps it freaky, nasty, and sex-positive on her brief but potent banger, “Up On Me”.  From the jump, sex is the modus operandi, further illustrated by a provocative music video that is focused on her ASSets.  Notably, the video caption reads, ‘Sukihana drops a bop for her coochie girls!!!!’ Sukihana wrote “Up On Me” with Yoko.  Dinuzzo produced it.

Playful, novel-sounding piano riffs commence “Up On Me.”  These riffs sound like they shouldn’t be anywhere near a rap song.  The silly-sounding, ragtime-like keys appeared more than two decades earlier on the Ying Yang Twins banger, “Say I Yi Yi”.  The song/sample fuels Sukihana’s fire, including when the musical accompaniment transforms into a nasty-sounding, malicious, minor-key backdrop. The ear-catching sounds include colorful synths, bright keys, and the souped-up sub-bass of the 808s. The ‘rinky-dink’ piano riff recurs after the first and second verses, during the fast-paced, brief chorus.  Sukihana asserts:

“I got my hands up on my knees

And my bows on my thighs

I like to twerk, and that’s for certain

He can tell, cuz I’m fly

I want some ice, and he gon’ buy it…

I-yi-yi-yi-yi.”

Sukihana keeps it bold, unapologetic, and sexual to the nth degree. The first verse has plenty of naughtiness to sink one’s teeth into. “Call him daddy when he slap me on my ass cheek,” she spits, and adds, “I bust it like a fully automatic,” intact with gun sounds.  “My pussy so good, I got to stay with my pistol,” she brags, and encourages her coochie girls to “Stand on your toes, make it clap until that coochie fart.” Yes, she goes there referencing vaginal flatulence, aka queefing.  The second verse has plenty of eyebrow-raising moments, too. “We outside popping pussy on the Pontiac,” she proclaims, and adds,  “A lot of these bitches can’t fuck with me / Even in a sundress, you can see the booty mean [?].” Confident, she asserts, “My face real pretty, and my body on fleek,” and adds,  “Pop that ass out, make it jiggle when you walk.” The big takeaway from “Up On Me” is that Sukihana doesn’t give a fuck; the focus is on S meets E, then they X.  Take this one with a grain of salt, and certainly NOT at work!

 

Appears in 🔻:

Sukihana, Up On Me: Spicy Tunez No. 12 (2026) 13 Mo’ UP Songs That Sho Nuff Don’t Disappoint! (2026) Incredibly Spicy Tunes That Raise Eyebrows (2026)

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13. Falco, “Rock Me Amadeus”

Falco 3 » Sony Music Entertainment Austria GmbH » 1985

Rock on, Falco (Johann Hölzel, 1957 – 1998) 🤘! The deceased Austrian musician is best known for his infectious number one hit, “Rock Me Amadeus”. Falco made history, becoming the first Austrian artist to top the chart. “Rock Me Amadeus,” the opener from Falco’s 1985 album, Falco 3, was written by Hölzel and Dutch producers Bolland & Bolland (Ferdi Bolland and Rob Bolland). Addressing the elephant in the room, yes, “Rock Me Amadeus” references the one-and-only Wolfgang Amadeus Mozart (1756 – 1791).

“Rock Me Amadeus” cooks from the get-go.  There is a striking beat and groove. The sound is ‘80s through and through with those nostalgic boxy sounds. The synths are rhythmic. Some are kinder, gentler, while others cut through the production. All told, Bolland & Bolland put in work behind the boards, giving Falco a mean backdrop to rap and sing over. Falco brings plenty of confidence and swagger to his performance – he ‘does the damn thing,’ you might say! He delivers a compelling cadence and flow, rapping in German in the verses and pre-chorus.

“Er war ein Punker und er lebte in der großen Stadt [He was a punk and he lived in the big city] Es war in Wien, war Vienna, wo er alles tat [It was in Vienna, where he did everything].”

The exception is the final line: “Now come and rock me, Amadeus, do it.” In the intro, he performs in English, emphasizing the “rock me.”  Whether you understand one iota of German or not, you can feel Falco’s energy and spirit. The chorus, which is performed exclusively in English, is EVERYTHING – it’s giving AMADEUS!

“Amadeus, Amadeus, Amadeus
Amadeus, Amadeus, Amadeus
Amadeus, Amadeus
Oh, oh, oh, Amadeus (Now come and rock me, Amadeus, de-de).”

The bridge and outro are also performed in English. The big takeaway? Rock me, Amadeus, of course! An awesome and timely modulation occurs during the final chorus and outro.  The outro is filled with musical layers; there’s ample ear candy. Ultimately, “Rock Me Amadeus” is the sugar, honey, iced tea. This is an unforgettable, novel song. 40 years later, it still slaps!

Appears in 🔻:

Falco, Rock Me Amadeus: Throwback Vibez No. 68 (2026)

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14. David Allan Coe, “You Never Even Called Me by My Name”

Once Upon A Rhyme » Sony Music Entertainment » 1975

outlaw country musician David Allan Coe (1939 – 2026) sings in the chorus of the 1975 classic, “You Never Even Called Me by My Name”. He continues, “But you don’t have to call me darlin’, darlin’ / You never even call me by my name.” Not ideal in the least. “You Never Even Called Me by My Name” is the 10^th track from the late artist’s 1975 album, Once Upon A Rhyme. It reached number eight on the Billboard Hot Country Songs. The song, considered Coe’s ace-in-the-hole, was written by John Prine (1946 – 2020) and Steve Goodman (1948 – 1984). Ron Bledsoe produced it.

From the beginning of “You Never Even Called Me by My Name,” David Allan Coe has a bone to pick with her.  “Well, it was all that I could do to keep from cryin’ / Sometimes, it seemed so useless to remain.” In the second verse, he mentions the likes of his country contemporaries Waylon Jennings, Charley Pride, and Merle Haggard, who were all more successful than he was.  In the third verse, he acknowledges he’s seen his name “on signs where I’ve played.” “But the only time I know I’ll hear ‘David Allan Coe’ / Is when Jesus has his final judgement day.” The only appropriate reaction is, damn.  After three unforgettable verses, Coe delivers a marvelous spoken-word bridge previewing the fourth and final verse, added by co-songwriter Goodman. It’s a doozy, folks.

“Well, I was drunk the day my mom got out of prison
And I went to pick her up in the rain
But before I could get to the station in my pickup truck
She got run over by a damned old train.”

Maybe I should’ve saved my damn reaction for this verse…  The good news is that David Allan Coe sounds amazing singing these negative lyrics.  His voice is commanding, dynamic, and sounds incredibly pure. Yes, he was painfully underrated, but his gifts and talents are undeniable.  Backed by a colorful, ultra-countrified backdrop, including guitars, piano, bass, drums, and harmonized background vocals, Coe ate and left no crumbs, as the kids say. “You Never Even Called Me by My Name” is EPIC, PERIODT!

Appears in 🔻:

David Allan Coe, You Never Even Called Me by My Name: Throwback Vibez No. 58 (2026)

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15. Nina Simone, “Take Me To The Water”

High Priestess Of Soul » The Verve Music Group » 1967

Growing up in the black church, “Take Me To The Water” (aka “None But The Righteous”) was a staple.  This traditional African American spiritual NEVER grows old, nor are its powerful lyrics or tuneful melody taken lightly.  Musical icon Nina Simone (1933 – 2003) shines on her rendition of “Take Me To The Water.” It appears as the sixth track on her 1967 album, fittingly titled High Priestess Of Soul.

“Take Me To The Water” begins with a delightful piano intro.  This is no surprise given Nina Simone’s virtuosic skills on the keys.  Besides tickling the ivories, Simone blesses us with her expressive, once-in-a-lifetime voice. She sounds commanding as she sings the words of the familiar African American spiritual.  As familiar as the words may be, her performance makes this oldie-but-goodie sound refreshing. “None but the righteous / None but the righteous / None but the righteous / Shall see God,” she sings in the verse, before another iteration of the chorus, “Take me to the water,” follows. Beyond her own sensational voice, she’s accompanied by a choir, upping the ante. On the outro, she switches things up.  With piano lines that sound like the ripples in the water, Simone informs us, “I’m going back home.” She concludes with the key lyric, “To be baptized.” Within the context of High Priestess Of Soul, “Take Me To The Water” prefaces the groovy, up-tempo, horn-filled “I’m Going Back Home”.  These two songs make a mean one-two punch.  All told, “Take Me To The Water” in the hands of Miss Nina is epic.

Appears in 🔻:

Nina Simone, Take Me To The Water: Music Lifts No. 13 (2026)

 

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