21 Unforgettable and Unusual Songs | Playlist

21 Unforgettable and Unusual Songs features songs by Alice Cooper, Diljit Dosanjh, Jill Scott, Klovis Gaynor & The Urinal Cakes, Napoleon XIV, and ROSALÍA.

WOO! Did I understand one word of the Diljit Dosanjh gem, “Morni”? Absolutely NOT, and yet, I adored this unforgettable and unusual song the first time I heard it.  To be fair, it’s only unusual to me because it’s not music I’m accustomed to hearing regularly, and, I don’t understand the language.  Still, my gargantuan musical compendium of 21 Unforgettable and Unusual Songs has some true oddities, many of which are exclusively in English.

Alice Cooper asserts in his necrophilia-driven gem, “Cold Ethyl” 👀. #WEIRD! 30 years after the arrival of “Cold Ethyl,” the talented and unapologetic Klovis Gaynor gets hella hyped on “THE METH SONG”: “Old men, older the better! / Strange men, stranger the better! / Love me, know me ‘til I can’t remember / Fuck me, drug me, ‘til I get better!” Wow 😮, I’m 😶! 21 Unforgettable and Unusual Songs is filled with musical gems that stand out from the crowd, with many genres covered. This gargantuan affair features songs by Alice Cooper, Diljit Dosanjh, Jill Scott,  Klovis Gaynor & The Urinal Cakes, Napoleon XIV, and ROSALÍA. So, without further ado, I proudly present the stacked, stuffed, and totally unforgettable playlist, 21 Unforgettable and Unusual Songs!

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~ Table of Contents ~
1. Diljit Dosanjh, “Morni”	2. Jill Scott, “BPOTY” (Ft. Too $hort)	3. Labrinth, “Mount Everest”
4. ROSALÍA, “Berghain” (Ft. Björk & Yves Tumor)	5. Klovis Gaynor & The Urinal Cakes, “THE METH SONG”	6. Aqua,“Barbie Girl”
7. Keli Holiday, “horsepower”	8. HUMBE, “Morfina”	9. Ylvis, The Fox “(What Does the Fox Say?)”
10. Björk, “Cosmogony”	11. The Lonely Island, “Jizz In My Pants”	12. Mommy Long Legs, “Lube The System”
13. Gogol Bordello, “Start Wearing Purple”	14. The Mars Volta, “The Widow”	15. King Missile, “Detachable Penis”
16. Jonathan Richman, “I Was Dancing In The Lesbian Bar”	17. The B-52’s, “Rock Lobster”	18. Philip Glass, “Koyaanisqatsi”
19. Alice Cooper, “Cold Ethyl”	20. Napoleon XIV, “They’re Coming to Take Me Away, Ha-Haaa!”	21. Louis Armstrong, “Cheesecake”

 

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1. Diljit Dosanjh, “Morni”

The Call of Panjab » Famous Studios » 2026

Woo! Those memorable lyrics appear in the chorus of “Morni”, a song by Indian singer and actor Diljit Dosanjh (b. 1984). How did I happen upon this unique worldwide song? The Tonight Show Starring Jimmy Fallon.  The first time I heard the song and saw Dosanjh perform, including dancing, I was enthralled. “Morni” was written by Canadian musician Chani Nattan and produced by Panjabi/Bhangra music producer and musician Tru-Skool.  “Morni” is the opening track from Dosanjh’s 2026 EP, The Call of Panjab.

“Morni” is a whole vibe; it is infectious and irresistible from the jump. The groove is electrifying, embracing the rhythms of Punjabi music in all of its glory. Woo! Beyond those sickening drums, the Indian instrumentation/sounds are full force, creating a scintillating listening experience. It’s refreshing and contrasts with the tried-and-true music heard stateside.  Besides the kickassery exhibited by the respective instrumentalists, Diljit Dosanjh kicks ample ass himself… and takes names! His vocals are enthusiastic, expressive, exuberant, and incredibly nuanced. His phrasing = impeccable.  The melodic lines are incredibly rhythmic and tuneful to the nth degree.  Honestly, there are no notes with this one – he ate and left no crumbs!  Does it matter if you don’t understand a word of Punjabi? Nope, at least it didn’t to me.  The moment you hear “Morni” in the hands of Diljit Dosanjh, it feels moving, right, special; one of one.  

Appears in 🔻:

Diljit Dosanjh, Morni: Wacky Wednesday No. 19 (2026) Striking Bops from May 2026 Best Songs of 2026 (So Far)

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2. Jill Scott, “BPOTY” (Ft. Too $hort)

To Whom This May Concern » Blues Babe Records LLC / Human Re Sources / The Orchard » 2026

Ain’t that some shit, and it’s certainly not fine shyt at that! So, what is Grammy-winner Jill Scott getting at on “BPOTY”? Well, the ninth track from her sixth studio album, To Whom This May Concern, is an acronym for Biggest Pimp of the Year.  Ooh-wee! Jill Scott, and featured guest Too $hort wrote “BPOTY” alongside producer Khari Mateen. “BPOTY,” a blend of funk, neo-soul, and hip-hop, is one of the highlights from Scott’s first LP in a decade-plus.

The band is locked in throughout “BPOTY.” The opening groove is funky as hell. The hard-hitting, dusty, rhythmic drum riff is EVERYTHING. It doesn’t stop there, however.  “BPOTY” benefits from a badass bass line and stellar guitar riffs. Of course, the star of the show is Jill Scott, who sings superbly and pens memorable lyrics with tuneful melodies.  I love her layered vocals during the first verse, where she sounds soulful to the nth degree. “I said, Preacher man, what you tryna do? / Tryna get this money, that’s all you do,” she sings, and continues, “When mama ain’t got squat, but you take that, too / You ain’t good for the people, that’s why I ain’t moved.” Oh, snap! Her pipes are even more powerful and remain playful in the second verse: “With a little pill (‘Til I die) / What you tryna do to me?” (Yeah) / Keep me coming back like a ho on a track and that’s a fact.” In a playful interlude following the titular refrain (“Biggest Pimp of the Year”), Scott introduces us to the BPOTY himself, Bay Area rapper, Too $hort. He delivers a compelling cadence and flow and rides the funky, neo-soul-oriented backdrop like a champ. “Bitch, I got you hooked on me / Whatever I want, that’s what you gon’ be,” he asserts, and adds, “You choose me, you won’t need another plan or another man / Just put the money in my hand.” Later, he memorably adds, “If you want my love, you gotta give me more / That’s the relationship between the pimp and the whore.” Oh, shit! Post-Too $hort, Scott utters the titular refrain once more and concludes with an entertaining outro: “This has been brought to you by Education / For your home and family / Doing what we do, each and every day.” Word! “BPOTY” is a surefire R&B bop-and-a-half.  Scott shines like the masterful singer-songwriter that she is, while Too $hort never sounded better, rapping his ass off, well past his most lucrative prime.

Appears in 🔻:

Jill Scott, BPOTY: Wacky Wednesday No. 11 (2026) Interesting Songs That Feature Acronym Titles, Vol. 4 (2026) Best Songs of 2026 (So Far)

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3. Labrinth, “Mount Everest”

Imagination & the Misfit Kid » Simco Limited / Sony Music Entertainment UK Limited » 2019

What?! D-d-damn, Labrinth (Timothy Lee McKenzie), that’s a bold statement! After all, Mount Everest is the shit itself –  the highest mountain in the world! Even so, the British rapper, singer, songwriter, and producer exudes confidence.  Adding to his confidence, “Burj Dubai ain’t got shit on me.” Face it, that man truly is “on top of the world.”  He wrote and produced “Mount Everest”, which appeared on his 2019 album, Imagination & the Misfit Kid.  Beyond his album, it was featured in the popular HBO show Euphoria, soundtracking Nate Jacobs, played by Jacob Elordi. The song, which never reached the Billboard Hot 100, was certified double platinum by the Recording Industry Association of America in 2025.

“Mount Everest” begins minimally with the left-hand piano (bass notes), basic drum programming, and Labrinth’s calm, cool, and soulful vocals. The melody is tuneful to the nth degree.  After finishing the memorable verse, the production fills in more.  Labrinth also performs his unforgettable “Woop” vocals during the chorus, which are the highlight of the viral Mount Everest trend on TikTok.  Take your pick of the best versions, including Grumpy Leanne & Maitland and OZIKOY – WOOP! Following the crème de la crème, Labrinth drops the second verse. It’s hard to top the first, but it still slaps.  Among the lyrical bangers from verse two: “I burn it down [my house] just for the fun of it,” and “I don’t pick up my phone, ain’t no one worth the time.” Oh, the narcissism! On the bridge, he continues to tout the fact that he don’t need anybody. He concludes this infectious hit fittingly: “Mount Everest ain’t got shit on me.”  And to that, I say, “WOOP!”

Appears in 🔻:

Labrinth, Mount Everest: Wacky Wednesday No. 18 (2026)

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4. ROSALÍA, “Berghain” (Ft. Björk & Yves Tumor)

LUX » Columbia » 2025

Say what, ROSALÍA (b. 1992), rather, say what, choir?  Translated from German (!) to English, the chorus of “Berghain”, the single and sixth track from her fourth studio album, LUX, reads, “His fear is my fear / His rage is my rage / His love is my love / His blood is my blood.” The Grammy-winning Spanish 🇪🇸 singer-songwriter incorporates German on the track. Berghain is a German word, referencing a nightclub in Berlin, and a mountain grove. On this collaboration with Grammy-nominated Icelandic 🇮🇸 singer-songwriter Björk (b. 1959) and the talented, nonbinary American, Italy-based musician Yves Tumor (Sean Bowie, b. 1989), the latter meaning, a mountain grove, was the inspiration. “Berghain” is one of the most distinct and unique moments from ROSALÍA to date. ROSALÍA composed “Berghain” with Björk, Yves Tumor, Noah Goldstein, Jake Alexander Miller, and Sir Dylan (Dylan Patrice Wiggins). She produced it with Goldstein, Miller, and Sir Dylan.

ROSALÍA performs the verses on “Berghain.” The first verse is sung in German operatically. “Ich bewahre viele Dinge in meinem Herzen auf / Deshalb ist mein Herz so schwer,” she sings, which imperfectly translates as, “I keep many things in my heart / That’s why my heart is so heavy.” The second verse is performed in Spanish, translating in English as, “I’m just a sugar cube / I know that heat melts me / I know how to disappear / When you come, that’s when I leave.” Regardless of the language, ROSALÍA excels with her beautiful vocals and an authentic, captivating performance. Björk arrives in the third and final chorus, memorably singing, “This is divine intervention.” She expands on the statement in the bridge, with her distinct, easily recognizable voice: “The only way to save us is through divine intervention / The only way I will be saved (Is through) divine intervention.” Yves Tumor concludes “Berghain” boldly, asserting, “I’ll fuck you ‘til you love me.” All three performances are award-winning, accompanied by a grand, adventurous, and lush backdrop. That accompaniment includes a choir and the soaring strings of the London Symphony Orchestra.  A big, bold, and striking record, “Berghain” is special the first time you hear it.  Not only is it the crème de la crème of LUX, but it is also among the best songs of 2025.

Appears in 🔻:

ROSALÍA, Berghain: Wacky Wednesday No. 51 (2025) 60 Best Songs of 2025 15 Bops From Around the Globe That Rock (2026)

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5. Klovis Gaynor & The Urinal Cakes, “THE METH SONG”

SAVE ME 4 THE SPANK BANK » klovisgaynor » 2025

New York City-based queer musician, Klovis Gaynor, is one of a kind. In 2025, Klovis Gaynor and The Urinal Cakes (Klovis, Brayden Baird, Dane Bundschuh, Josh Hausman, and Larah Helayne) released an ambitious debut album, SAVE ME 4 THE SPANK BANK, described as ‘the sound of crying, the sound of fucking, the sound of banging pianos, distorted guitars, fear, lust, hate, cum, cum & more cum’. One of the most ear-catching songs from the album is “THE METH SONG”. Not only is cum involved, but so are drugs: “Meth, PCP, Four Loko / And fuck me!” Holy fuck! Even though this queer punk song is raw and rough around the edges, the musicianship is elite: creative songwriting, an authentic, playful vocal performance, brilliant, distorted guitars, and clever riffs. “THE METH SONG” is weird as fuck (and also, about fucking, too), but that is a big part of its charm.

From the beginning, a lot is going on. You see, “THE METH SONG” is one of those epic musical selections where you hear something new with every listen. After listening to this gem several times, I found myself more and more drawn to it.  It grows more impressive as Klovis sings about drugs, icky boys, and what sounds like filthy sex. Gaynor delivers a dramatic, emotional, and playful vocal performance. The lyrics are poetic and raw to the nth degree.  Klovis dips into spiritual matters, with ample blasphemy, of course! “I know Jesus was a slut / He told me in the shower,” Gaynor sings, continuing, “He showed me with his powerful tool / He made me drink, he made me vomit / Neon green, 4 Loko…” Damn, or maybe, damned… The use of Jesus’ body ‘hits different’ at the hands of Klovis.  As ear-catching as the Jesus lyrics are, some of the most memorable moments occur during the centerpiece, the chorus.  Here, Klovis shouts. “Old men, older the better! / Strange men, stranger the better! / Love me, know me ‘til I can’t remember / Fuck me, drug me, ‘til I get better!”  Wow… speechless 😶! Also, if you were unaware, “The best lay of your life / Has always been laying down to die.” And that is how “THE METH SONG”  ends. Ultimately, it is a breath of musical fresh air, even as filthy, raw, and unrefined as it is🤘.

Appears in 🔻:

Klovis Gaynor & The Urinal Cakes, THE METH SONG: Wacky Wednesday No. 20 (2025) Bops from 2025 That Make You Beam with Pride 15 Addictive Songs About Alcohol, Drugs & Substances (2025) A Marvelous Sampling of M Songs (2025) 15 Intriguing Songs Where The Keyword is SONG (2025) 60 Best Songs of 2025

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6. Aqua, “Barbie Girl”

Aquarium » Universal Music (Denmark) A/S » 1997

Woo! Aqua earned a big-time, triple platinum hit with “Barbie Girl” in 1997. The Barbie-driven bop appeared on the Danish-Norwegian pop collective’s multiplatinum album, Aquarium. In the U.S., “Barbie Girl” peaked at number seven on the Billboard Hot 100, their most successful showing on the pop charts. Claus Norreen, Johnny Jam, Karsten Dalhgaard (Delgado), Lene Nystrøm, René Dif, and Søren Rasted wrote the exuberant track.  Johnny Jam, Delgado, Rasted, and Norreen produced it.

Like much of Eurodance/Europop music, “Barbie Girl” sounds bright, bubbly, and sparkling in sound.  In this relentless, driving rhythmic cut, the beat pounds while the synths sizzle.  The vocals are tongue-in-cheek – playful to the nth degree. Nystrøm channels her inner Barbie with her distinct, high-pitched vocals. This is a big part of the charm of this pop classic. “I’m a blonde bimbo girl in a fantasy world,” she sings in the first verse, continuing, “Dress me up, make it tight, I’m your dolly.” Sexual lyrics, for sure! Beyond Nystøm, René Dif brings it, channeling his inner Ken. To Lene, aka Barbie, he asserts, “You’re my doll, rock and roll, feel the glamor in pink / Kiss me here, touch me there, hanky-panky.” Oh, snap! Aqua was sued by Mattel.  The famed toy company took issue with what they deemed copyright infringement (using Barbie) and, unsurprisingly, the sexual references. Mattel lost, ultimately.  Yes, “You can brush my hair, undress me everywhere” rightfully raised eyebrows at the time, but “Barbie Girl” should be taken with a grain of salt. After all, “Imagination, life is your creation!” Well, something like that!

 

Appears in 🔻:

Aqua, Barbie Girl: Wacky Wednesday No. 23 (2025) Girl, These Songs Are About You, Vol. 2 (2025)

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7. Keli Holiday, “horsepower”

JESTERMAN (EP) » Keli Holiday » 2024

Ooh-wee! Australian musician Keli Holiday (Adam Hyde) is all gas, no brakes in “horsepower”, the opener from his 2024 EP, JESTERMAN.  “Horsepower” was written by Hyde, Caleb Braden Tasker, and Akim Beckford, and produced by Hyde and Tasker.  Mr. Holiday gives us a high-powered, three-minute ride – vroom, vroom!

The chorus, excerpted earlier, is the crème de la crème of “horsepower.” It’s simple but striking.  The verses compel too.  “I need a rider, a singer / Baby, call her Mariah, I need it now,” Keli Holiday sings in the first verse.  The second verse is more rhythmic and wordier, performed like a hip-hop song.  Energy is a big theme, with “no Gatorade” per Keli.  But it is the end of the verse that raises eyebrows: “Since you in the cockpit, be the copilot / We ain’t opened the doors I, like, four hours / Hold on tight ‘cause his flight come with horsepower.” Oh, sugar, honey, iced tea! On the bridge, he seems to share some of his preferences in women… Throughout “horsepower”, Keli brings the horsepower.  He never over-sings, yet exudes passion, and sells us with his charming Aussie accent. Backed by a groovy, rocking backdrop, Adam Hyde’s engine packs a mean punch.

Appears in 🔻:

Keli Holiday, horsepower: Wacky Wednesday No. 15 (2026)

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8. HUMBE, “Morfina”

DUEÑO DEL CIELO » PARASIEMPRE.wav Records » 2025

Translated in English, Mexican singer, songwriter, and producer HUMBE (Humberto Rodríguez Terrazas) sings, “It’s not real for me to think that love ended there / I couldn’t fly without you.” Love is key theme on “Morfina” (“Morphine”), the 22^nd track from his third album, DUEÑO DEL CIELO, released in 2025. The handsome (😍) and talented musician outdoes himself on the near-six-minute-long ballad. In his Genius verified video, HUMBE stated that the song reminds him of his father.  He penned and produced “Morfina” alongside Emiliano RDZ. The results are nothing short of awe-inspiring and breathtaking.

“Morfina” shines for a plethora of reasons.  It begins with the creative soundscape. The instrumental is colorful, enigmatic, and beautiful. The instrumental introduction sets the tone, prefacing the excellence to come. The sounds that catch the ears include keyboards, programming, and rhythmic guitar mixed in the background.  By the end, the experience is incredibly cinematic, with the orchestral touches.  As striking as the accompaniment is, HUMBE’s vocals are some of the sweetest you’ll ever hear.  It is easy to lean on every word he sings given the sincerity he performs.  No matter the register in which he sings, his voice sounds angelic. Adding to the high-flying musicianship are selective harmonized vocals.

“Morfina” features two verses, with a chorus following each.  Even without understanding Spanish, or translating it to English, the lyrics sound emotional, poetic, and thoughtfully penned. “Y aceptamos nuestro final, nada malo a tu lado / Sentarnos a existir, y empalagarnos de amarnos tanto,” he sings in the second verse, and concludes, “Fue nuclear coincidir, al contacto detonamos / No nos preocupamos, nadie nos detiene a los dos.”  As suspected, the translation showcases the brilliance of HUMBE’s pen: “And we accept our ending; nothing is bad by your side / Sit and exist and drown in loving each other so much / It was nuclear to meet; at the touch, we detonated / We don’t worry; no one stops the both of us.” As stellar as the verses are, the chorus is epic:

“Admito que es real [I admit that it’s real] Me enseñaste que el amor es infinito y que me busque más [You taught me that love is infinite and that I should look for myself more] Ya no duele nada, llenas de morfina mi inseguridad [Nothing hurts anymore; you fill my insecurity with morphine] Dulce eternidad [Sweet eternity]…
Te amará mi alma cuando mi cabeza deje de Pensar [My soul will love you when my mind stops thinking] …”

Providing additional context, HUMBE states that morphine numbs the pain, as pure love does.  He describes this as the perfect metaphor. Beyond the chorus, there is a fabulous bridge, which leads to a dramatic, lush, and soaring instrumental-led outro. “Tu morfina, mi morfina [Your morphine, my morphine] / Háblame mientras termina [Talk to me while it ends],” he sings in the bridge, and adds, “Endorfina que me arruina [Endorphin that ruins me] / Me apendeja, me da vida [Makes me dumb, gives me life].” In a fitting touch, beyond the celestial orchestral sounds, the outro features a voice note from HUMBE’s dad’s voice.  So much more can be said about “Morfina”; it’s a truly special song by HUMBE.  But this gem is best experienced by simply listening.

Appears in 🔻:

HUMBE, Morfina: Wacky Wednesday No. 4 (2026) 15 Bops From Around the Globe That Rock (2026)

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9. Ylvis, “The Fox (What Does the Fox Say?)”

“The Fox (What Does the Fox Say?)” » Urheim / 45^th & 3rd Music LLC / Warner Music Norway AS » 2013

Five words: What does the fox say? Oh, snap! In 2013, Norwegian comedy duo Ylvis (brothers Bård Ylvisåker and Vegard Ylvisåker) unveiled a viral song for the ages with “The Fox (What Does the Fox Say?)”.  Comedic, funny, and irreverent, “What Does the Fox Say?” gained steam because it is infectious to the nth degree.  Corny? Yes. Catchy? Yes.  Irresistible? 100% yes! Ylvis composed this novel, wacky dance-pop cut with producers M4sonic and Stargate (Tor Erik Hermansen and Mikkel Storleer Eriksen). The single, which peaked at number six on the Billboard Hot 100, was certified gold by the RIAA.

So, what makes “The Fox (What Does the Fox Say?)” so special? The musical backdrop is sweet, helping to fuel Ylvis’ fire.  The sound is characteristic of dance-pop and electro-pop with its keys, synths, and programming.  As, if not more intriguing, are the lyrics, sung by both Bård and Vegard.  In the first verse and pre-chorus, Bård teaches us about the sounds that various animals make. “Dog goes ‘woof’, cat goes ‘meow,’” he sings, adding, “Ducks say ‘quack’ and fish go ‘blub’ / And the seal goes ‘ow ow ow.’” Word.  But, this song is about only one animal, in all of its glory – the fox! In both choruses, the fox makes some unusual sounds:

“Ring-ding-ding-ding-dingeringeding!

… Wa-pa-pa-pa-pa-pa-pow!

…Jacha-chacha-chacha-chow!

Fraka-kaka-kaka-kaka-kow!

What does the fox say?”

In the second verse, Vegard describes the fox in all of its glory: “Big blue eyes, pointy noise / Chasing mice and digging holes / Tiny paws up the hill / Suddenly you’re standing still.” In the bridge, which is more legato, the bros continue to characterize this mysterious animal: “What is your sound? Will we ever know? / Will always be a mystery / What do you say?” Unusual, “The Fox (What Does the Fox Say?)” is a classic from the 2010s.  It is a novel song that never grows old.

Appears in 🔻:

Ylvis, The Fox (What Does the Fox Say?): Wacky Wednesday No. 16 (2025) WHAT is up with These 15 Songs, Vol. 2 (2025) 15 Captivating Songs That Ask a Question (2025) 13 Divine Do, Does, or Doing Songs (2025) 13 More Electrifying Animal Songs (2025)

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10. Björk, “Cosmogony”

Biophilia » Wellhart Ltd / One Little Independent Ltd. » 2011

Those lyrics could only be sung by one singer: Björk (Björk Guðmundsdóttir, b. 1965).  The lyrics appear in the fourth and final verse of the spacey masterpiece “Cosmogony”. “Cosmogony” is the fourth track from the stellar 2011 album by the Icelandic musicians, Biophilia.  If it wasn’t clear from the excerpted lyrics, Björk references the Big Bang Theory. Notably, each of the song’s four verses represents a different creation myth.  She wrote “Cosmogony” with Sjón.  She produced this creation-driven track herself.

“Cosmogony” is easily my favorite from Biophilia.  It is an unusual gem from an unusual but brilliant album.  It commences with celestial, ominous synth pads. Think of the sounds as a tone poem representative of the universe – creation from various perspectives.  Additional breathtaking sounds beyond the programming include brass and a choir, conducted by Jón Stefánsson. With a top-notch instrumental arrangement and production (the orchestration is breathtaking and utterly sublime), Björk impresses with her well-rounded vocal performance. She makes you hang on every word she sings, telling remarkable tales.  In the first verse, she references a Miwok Creation myth where “a silver fox and her cunning mate / Began to sing a song that became the world.” In the second, the myth comes by way of a god hatching from an egg. In the third, “Our ancestors woke up, and before they went back to sleep / They carved it all into the world we know.” Whoa, Australian Aboriginal creation myth! While “Cosmogony” isn’t a traditional ‘pop’ song by any means, it thrives on its catchy chorus.  Surprisingly, the chorus is as tuneful as it is, given the spacey nature of the song and Biophilia as a whole. “Heaven, heaven’s bodies / Whirl around me, make me wonder,” she sings superbly. It’s giving a chef’s kiss! Uniquely, “Cosmogony” concludes with a striking, winding-down effect. Revisiting “Cosmogony”, it remains bold, futuristic, and progressive in sound.  Björk sounds amazing.  She’s engaging, innovative, and unpredictable and continues to create cutting-edge and unique music.

Appears in 🔻:

Björk, Cosmogony: Wacky Wednesday No. 6 (2026)

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11. The Lonely Island, “Jizz In My Pants”

Incredibad » Universal Republic » 2009

Oh yes, actor and comedian extraordinaire Andy Samberg ‘went there’ on “Jizz In My Pants”.  There are more reasonable definitions for jizz, such as to ejaculate (verb) and semen (noun), but Urban Dictionary always provides more colorful, vulgar definitions, like “The white shit that comes out your little meat package when you beat it too hard” and “When a guy shoots white sticky love juice out of his dick.” To be fair, all of the jizzing isn’t solely shouldered by Samberg on “Jizz In My Pants.” This is a collective effort by comedy trio The Lonely Island, comprised of Samberg, Jorma Taccone, and Akiva Schaffer. This wacky, weird, NSFW song, where the guys tackle losing control and ‘letting it erupt’ is one of many highlights from the trio’s 2009 album, Incredibad.  It’s giving Mount Vesuvius!

So, what is the seminal experience (🤭) like for Samberg’s colleague, Jorma? At the grocery store, Taccone raps, “Never felt that I could feel real again / But the look in her eyes said, ‘I need a friend’ / She turned to me, that’s when she said it / Looked me dead in the face, asked ‘Cash or credit?’ / And I— / Jizzed in my pants.” That is an interesting reason to… release. In the third verse, Samberg returns, with lots of reasons cause him to jizz in his pants.  They include “Checked my phone and saw you rang” and “When Bruce Willis was dead at the end of Sixth Sense.” Ain’t that some, jizz?  In the choruses, they point fingers at the perpetrators of their uncontrollable bodily fluids.  From Samberg’s perspective (after verse one), “You were rubbing my butt.” For Taccone (after verse two), it was the cashier’s flirting and “the way you bag cans got me bothered and hot.” Damn! Besides the messiness listening to “Jizz In My Pants” the music video is something else. The Lonely Island’s facial expressions are a sight to behold.  A song that should be taken with a grain of salt, more than 15 years after its arrival, this sticky cut remains comical, ludicrous, and highly entertaining. 

Appears in 🔻:

J Songs: No Rhyme or Reason (2021) The Lonely Island, Jizz In My Pants: Wacky Wednesday No. 7 (2025) 13 More Possessive Songs Featuring the Adjective, MY (2025)

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12. Mommy Long Legs, “Lube The System”

Try Your Best » Mommy Long Legs » 2018

Indeed, Mommy Long Legs! In the spirit of punk, rock the fuck on 🤘! Queerspace Magazine once described the Seattle-based, feminist punk band as “raucous, irreverent delight, and one of the best bands in the city.” Mommy Long Legs are Lilly Morlock, Melissa Kagerer, Leah Miller, and Cory Budden. Later, MLL enhances those lyrics: “You gotta lube the system / Before you screw the system.” That is true.  Without lube… phew 😮‍💨! That’s rough 😬! “Lube The System” is the sixth track from their 2018 album, Try Your Best.

“Lube The System” is rebellious from the start, and we wouldn’t have it any other way, Mommy Long Legs! Tired of a mundane life experience, getting ready for work, the band is over it! “Oo-la / I’m not gonna / Oo-la / I’m gonna do / Oo-la / Whatever I wanna.” Hell yeah! Hence, lube the system, screw the system, etc.  But it expands beyond the shared experience of work, which none of us want to do – it is systemic failures.  After playing the game for so long, they say, screw it! “You don’t have to listen / Turn off your television!” Facts, because the news, propaganda, and all that un-fine shyt (🤭) will mess you up.  Instead, the MLL perspective is the way to go! “Do what I wanna / Listen to what I wanna / Screw who I wanna / Only when I wanna.” Absolutely! So, screw the system; better yet, screw it, let’s “Ram the system!”  Mommy Long Legs delivers an energetic, unapologetically punk performance.  The dirty, distorted guitars roar, the bass line provides a firm foundation, the drums pummel, while the vocals are filled with angst, anger, passion, and protest.  “Lube The System” cries foul against widespread systematic failures.  Are you willing to lube and massage the system, or are you more like, fuck it, SCREW THE SYSTEM? We know where Mommy Long Legs stands, ten toes down!

Appears in 🔻:

Mommy Long Legs, Lube The System: Wacky Wednesday No. 13 (2026) 11 Lubed Up Lube Songs (2026)

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13. Gogol Bordello, “Start Wearing Purple”

Gypsy Punks: Underdog World Strike » SideOneDummy »  2005

Eugene Hütz sings in the chorus of “Start Wearing Purple”.  He continues, “All your sanity and wits, they will all vanish / I promise, it’s just a matter of time.” Hütz is the frontman of Gogol Bordello, a unique band of immigrants. “Start Wearing Purple” is the ninth track from Gypsy Punks: Underdog World Strike, released in 2005. “Purple” remains unusual two decades later.

Hütz is the star of the show.  His vocals are distinct and dynamic, while his Ukrainian accent is charming.  Also charming is the personality Hütz brings to the performance.  The tunefulness of the chorus goes without saying, inciting purple-wearing, but the verses are fun too.  “I know you since you were a twenty, I was twenty,” Hütz asserts in the first verse, adding, “A purple little, little lady will be perfect / For a dirty old and useless clown.” Oh, snap! Fittingly, Hütz sings some lyrics in his native language (in the second and third verses).  Still, the biggest draw is to start wearing purple, PERIOD!  Stylistically, “Start Wearing Purple” encompasses rock, punk, folk, and Romani music.  It thrives on an infectious groove from the beginning.  The use of an accordion specifically (Yuri Lemeshev) enhances the timbre.  This purple-clothed song slaps!

Appears in 🔻:

Gogol Bordello, Start Wearing Purple: Wacky Wednesday No. 6 (2025) 13 Rad Fitting, Clothing-Related Songs (2025)

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14. The Mars Volta, “The Widow”

Frances the Mute » The Mars Volta » 2005

Those are some clever, darkly poetic lyrics! Grammy-winning rock band The Mars Volta is consistently comprised of two members: Omar Rodríguez-López (b. 1975) and Cedric Bixler-Zavala (b. 1974).  The prog band released Frances the Mute in 2005.  The second track, “The Widow”, is one of the best songs from their discography. It is also meaningful as it is dedicated to former band member Jeremy Ward. In a band that is not always considered the most accessible, “The Widow” is more accessible compared to much of their output. That said, it is still a unique record that easily stands out from the crowd and is subject to multiple interpretations (Frances The Mute is conceptual, after all). Written by Rodríguez-Lopez and Bixler-Zavala, Rodríguez-Lopez produced it. Notably, “The Widow” reached the Billboard Hot 100 (!), peaking at number 95.

Cedric Bixler-Zavala kills it on vocals (and lyrics).  His instrument is as unique as The Mars Volta’s discography. Cutting, high-pitched, and powerful, Bixler-Zavala sells the lyrics like a champ.  Like the first verse, the second is intense too.  In the pre-chorus (“And I hear him every night on every street / The scales that do slither deliver me from”), varied every time, Bixler-Zavala builds up to the centerpiece, the chorus:

“Freeze without an answer, free from all the shame

Then I’ll hide

‘Cause I’ll never, never sleep alone.”

The melody is simultaneously chilling and tuneful. There is also one other section of note: the bridge.  Once more, Bixler-Zavala is locked in, expressively singing the likes of “Pale, runs the ghost / Said I’m, Said I’m / Swollen on the shore.” Word.  Beyond the dynamic vocals, cerebral, thought-provoking lyrics, and memorable melodies, the music kicks ass and takes names.  Fittingly, “The Widow” is set in a minor key – it’s a dark, intense record.  Beyond standard rock instrumentation, “Widow” incorporates keyboards/synthesizer, brass, strings, and percussion. Flea performs a trumpet solo (during the bridge), showcasing his musicianship and versatility. Rodríguez-Lopez is beastly with the guitar, kicking serious ass and taking names with his riffs and soloing.  Furthermore, the big, distorted sound of the guitars is heavenly… in a hellish way or vice versa. With about two minutes left in the album version, which runs shy of six minutes, this ‘accessible’ Mars Volta cut embraces its weirdness with a dissonant, noisy instrumental outro.  The outro is highlighted by infernal synthesizer (organ-like sound) and unrefined, boisterous sound effects.  It couldn’t be The Mars Volta without the unusual, right? Damn right! “The Widow” is nothing short of a masterpiece, with its adventurousness and elite musicianship from all participants.

Appears in 🔻:

The Mars Volta, The Widow: Wacky Wednesday No. 24 (2025)

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15. King Missile, “Detachable Penis”

Happy Hour » Atlantic Recording Corp. » 1992

To each his own, King Missile. In the avant-garde art-rock band’s “Detachable Penis”,  the penis is the star of the show.  “Detachable Penis” is the eighth track from the band’s 1992 album,  Happy Hour. The music ‘cooks’ throughout the song.  The jagged, distorted guitar riffs and organ are fierce.  The music is not odd but the theme and lyrics, ‘take the cake’ on “Detachable Penis.”

So, why is the penis detachable? That’s a valid question that never gets answered.  At the beginning, the listeners are informed of a missing peen…

“I woke up this morning with a bad hangover, and my penis was missing again. This happens all the time; it’s detachable.”

Mercy.  We listen, and we don’t judge. From there, we get this ‘song and dance’ regarding searching for the missing, detachable penis, which we assume is NOT a dildo.  A prosthetic?

“I was starting to get desperate. I really don’t like being without my penis for too long; it makes me feel like less of a man, and I really hate having to sit down every time I take a leak.”

After searching for the ding-a-ling, the narrator finds it:

“So, I went to the Kiev and ate breakfast. Then, as I walked down Second Avenue towards St. Mark’s Place, where all those people sell used books and other junk on the street, I saw my penis lying on a blanket next to a broken toaster oven. Some guy was selling it–I had to buy it off him. He wanted twenty-two bucks, but I talked him down to seventeen.”

Did I mention we listen, and we don’t judge already? All the while these shenanigans occur, there are sung vocals.  Can you guess the lyrics? If you came up with “detachable penis,” you are in business.  A 1990s classic, “Detachable Penis” is an odd, odd song that never grows old.

Appears in 🔻:

King Missile, Detachable Penis: Wacky Wednesday No. 9 (2025) 13 Phallic Songs that Celebrate the D (2026)

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16. Jonathan Richman, “I Was Dancing In The Lesbian Bar”

I, Jonathan » Rounder » 1992

Bummer! That sucks, Jonathan Richman (b. 1951)! I mean, you go out to have fun, not be self-conscious, as he confesses in the first verse of “I Was Dancing In The Lesbian Bar”. So, who saves him from this awkward, unfun nightclub experience? The lesbians! “‘For dancing come with us’ / And soon… / I was dancing in a lesbian bar, ah-hoo, ah-oo / I was dancing in a lesbian bar, ooh, ooh, ooh.” Ooh-wee, what a difference the venue, and the patrons in that venue make! “I Was Dancing In The Lesbian Bar” is the fifth track from his 1992 album, I, Jonathan. Richman wrote this infectious, unforgettable gem while Brennan Totten produced it. Can I get a “ooh, ooh, ooh!”

As Richman tells us his initial experience, “I Was Dancing In The Lesbian Bar” begins dramatically.  Guitar is the sole accompaniment, with Jonathan Richman’s vocals and beautiful, warm background vocals. After feeling free, the guitar establishes a stable, chordal rhythmic groove. The bass and drums enter the mix, providing an anchor and firm foundation for Richman to deliver an entertaining performance on this novel record. He consistently delivers expressive, well-rounded vocals, bringing the tuneful melodies and striking lyrics to life. “Well, the first bar things were alright / But in this bar, things were Friday night,” he asserts in the first pre-chorus. Later, he continues to compare the differences, including “Well in the first bar things were stop and stare/ But in this bar things were laissez-faire,” and “In the first bar folks were drinking sips / But in this bar they could shake their hips.” Woo! Beyond their initial appearance, the background vocals are one of my favorite touches, providing sweet harmonies. The verses are rad (“… I was there to check the scene / And hang around”), as are the comparative pre-choruses, but the best section of the song should come as no surprise: the chorus, which highlights the titular lyric. Ultimately, “I Was Dancing In The Lesbian Bar” is one of the most fun songs you’ll ever hear.  If you haven’t heard it, you are sadly missing out. Jonathan Richman put his foot into this one.  He can thank the lesbians for allowing him to have fun! Notably, They Might Be Giants covered it.

Appears in 🔻:

Jonathan Richman, I Was Dancing In The Lesbian Bar: Wacky Wednesday No. 31 (2025) Jonathan Richman vs. They Might Be Giants: Head 2 Head No. 30 (2025) Eye 👁 This List of Must-Hear “I” Songs, Vol. 5 (2025) 15 Striking I-N In Songs (2025)

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17. The B-52’s, “Rock Lobster”

The B-52’s » Warner » 1979

One of my favorite Panic! At The Disco songs is “Don’t Threaten Me With A Good Time”.  Besides the brilliant vocals of the handsome and talented Brendon Urie, the opening riff kicks ass and takes names.  There is a good reason for this ‘ass-kicking’ and ‘name-taking.’ Urie samples the 1979 ambitious, wacky, and weird The B-52’s classic, “Rock Lobster”.  The B-52’s – Fred Schneider (b. 1951), Ricky Wilson (1953 – 1985), Kate Pierson, Cindy Wilson, and Keith Strickland – are arguably best known for their top 10 hits that would arrive a decade after “Lobster”: “Love Shack” and “Roam”.  However, as odd as their debut single is, it impacted the pop charts, peaking at number 56 on the Billboard Hot 100 in May 1980.  The high-energy, infectious song is the fourth track from the band’s self-titled, five-star debut. All members of the band contributed to writing the song.

“(Sca-do-ba-da) We were at a party (Eww) / (Sca-do-ba-da) His earlobe fell in the deep (Eww) / (Sca-do-ba-da) Someone reached in and grabbed it (Eww) / (Sca-do-ba-da) Was a rock lobster (Eww).” Oh, my! According to Fred Schneider, because his earlobe fell, a rock lobster grabbed it… Word! Beyond the electrifying opening riff, what makes “Rock Lobster” the sugar honey iced tea is its unique sound and outlandish songwriting.  Approaching fifty years later, what other song sounds like this new wave, dance-rock track? None – it is in a league of its own.  Of course, how many bands were writing and performing songs about a beach party where a crustacean is front and center? “(Ah-ah-ah-ah) Rock lobster!” The tone of the vocals on the “Eww(s)” adds to the charm.  The B-52’s fully invests in the rock lobster, who, by the third verse, “Was in a jam (Hoorah) / He’s in a giant clam (Hoorah).” Oh, snap! The wackiness doesn’t stop there, either.  “Red snappers snapping /… Mussels flexing (Hoorah) / Flippers flipping (Hoorah),” Fred sings, in the fifth verse.  The final verse provides contrasts both lyrically and musically. Among the boldest lines not related to lobsters is “Boys in bikinis / Girls in surfboards,” which is quite progressive and unexpected for the time.  The lyrics continue to be interesting with dogfish being “chased by catfish,” and “Here comes a bikini whale.” Bikini whale?  What better wacky song to listen to than “Rock Lobster”? The B-52’s ate on this one!

Appears in 🔻:

The B-52’s, Rock Lobster: Wacky Wednesday No. 2 (2025) A Riveting Collection of R Songs (2025) 13 More Electrifying Animal Songs (2025) A Memorable Song From Each Letter of the Alphabet (2026)

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18. Philip Glass, “Koyaanisqatsi”

Koyaanisqatsi (Complete Original Soundtrack) » Orange Mountain Music » 2009

Philip Glass (b. 1937) is the man. He is one of the most influential and prolific composers to ever live. Uniquely, Glass is renowned as a proponent of a simpler, minimalist style of composition and music, which has earned him universal acclaim.  He paved the way for future composers to embrace simplicity. Minimalism still carries incredible weight and produces incredibly accomplished, distinct, and fulfilling music.  Among my favorite Glass compositions is “Koyaanisqatsi”, the opener from the soundtrack to the 1982 non-narrative documentary film, also titled Koyaanisqatsi (directed by Godfrey Reggio).  This Hopi word means Life out of balance, which is also the film’s subtitle. Glass composed the soundtrack for the film, and the Philip Glass Ensemble performed it. There are two Koyaanisqatsi albums.  The soundtrack that accompanied the film features six tracks (“severely truncated form”).  In 2009, Glass released Koyaanisqatsi (Complete Original Soundtrack), which features movements not found in the film.

From the start, “Koyaanisqatsi” is dark, enigmatic, and hypnotic. Even though it is set in a minor key, it is tonal – no dissonance to be found. Still, it is quite somber. Composed in Glass’s signature minimalist style, the simplistic, repeated lines captivate and mesmerize.  An organ bass line dominates the music early, performed in four-bar phrases, establishing an anchor and clear foundation. Basso profondo (deep bass vocals) performed by Albert de Ruiter, repeats the titular lyric, beginning around the 30-second mark. The deep vocals, calm and poised instrumental, and repeated titular lyrics create a mysterious and somewhat unsettling aesthetic. After one minute in, we begin to get more development, a distinct, higher rhythmic line, also performed on keyboards/organ. After establishing the new idea and maintaining the bass notes in the keys, the basso profondo returns just before the one-minute mark. The increased rhythmic motion feels like Glass is digging deeper into the music, yet he maintains poise: a cool energy.  Following the second round of vocals, a higher, varied organ/keyboard line enters the mix, just before the 2:00 mark. All parts come together with the basso profondo entering for the third and final time near the two-and-a-half-minute mark.  Although not technically difficult from a compositional or performance perspective, “Koyaanisqatsi” feels as accomplished, cerebral, and prodigious as the most challenging and demanding pieces of classical music. Hear this opening gem once, and you will never be able to escape its minimalist brilliance.

Appears in 🔻:

Philip Glass, Koyaanisqatsi: Wacky Wednesday No. 25 (2025) A Kool Kollection of K Songs (2025)

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19. Alice Cooper, “Cold Ethyl”

Welcome to My Nightmare » Atlantic Recording Corporation » 1975

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

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

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

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

Appears in 🔻:

Alice Cooper, Cold Ethyl: Wacky Wednesday No. 12 (2025) 13 Songs That Feature Names, Vol. 6 (2025)

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20. Napoleon XIV, “They’re Coming to Take Me Away, Ha-Haaa!”

They’re Coming to Take Me Away, Ha-Haaa! » Print Music Inc. » 1966

Oh, snap! Napoleon XIV is best known for “They’re Coming to Take Me Away, Ha-Haaa!” one of the weirder songs you’ll ever hear.  That is part of the charm! The song, which is about mental health and insanity, also stirred some controversy, which ended its chart run.  But before censorship reared its ugly head, it peaked at number three on the Billboard Hot 100 👍. “They’re Coming to Take Me Away, Ha-Haaa!” is the sixth track on Napoleon XIV’s 1966 album of the same name. was written and produced by Napoleon XIV himself, Jerry Samuels (1938 – 2023).

“They’re Coming to Take Me Away, Ha-Haaa!” shines for many reasons.  It brilliantly and deceptively makes you believe that Napoleon XIV is addressing a woman for most of the song. “Remember when you ran away / And I got on my knees / And begged you not to leave because I’d go berserk?” he sings (chants) in the first verse, and continues, “Well, you left me anyhow / And then the days got worse and worse / And now you see I’ve gone completely out of my mind.” Napoleon continues to lose it, but the third verse, excerpted earlier, confirms he’s lost it over a dog. The chorus is the crème de la crème, in all of its madness 🤪:

“And they’re coming to take me away, ha-ha

They’re coming to take me away, ho-ho, hee-hee, ha-ha

To the funny farm

Where life is beautiful all the time

And I’ll be happy to see those nice young men in their clean white coats

And they’re coming to take me away, ha-ha.”

Adding to the madness are vocal inflection and pitch-shifted vocals.  It’s a sight to behold, rather, listen to. Napoleon brings plenty of attitude, playfulness, and insanity to his performance.  Intriguingly, the accompaniment is minimal: percussion only.  There is something hypnotic about the groove, as well as the siren sound effects, signaling his “Trip to the funny farm.” Ultimately, “They’re Coming to Take Me Away, Ha-Haaa!” is a novel song for the ages.  Hear it once, and you’ll never forget it!

Appears in 🔻:

Napoleon XIV, They’re Coming to Take Me Away, Ha-Haaa!: Wacky Wednesday No. 25 (2026)

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21. Louis Armstrong, “Cheesecake”

Louis » Verve Label Group » 1966

Louis Armstrong (1901 – 1971) says playfully (tongue in cheek) during the intro of “Cheesecake”. Oh, does she, Louis? “Cheesecake” is the seventh track from the visionary musician’s 1966 album, Louis.  He wrote the irresistible cut with pianist Irving Fields (1915 – 2016).  There is nothing weird or wacky about the musicianship.  The instrumentalists are locked in. Where the ‘weird,’ ‘silly,’ or ‘novel-ness’ comes into play is in the lyrics and Armstrong’s playful vocal performance.  The intro, excerpted above, sets the tone.

Following Armstrong’s intro, there is a novel piano riff by Marty Napoleon (1921 – 2015) that establishes the, dare I say, cheesy fun.  Louis Armstrong hams it up with his infectious, playful vocals.  Armstrong takes the lead, with his longtime pianist, Billy Kyle (1914 – 1966), responding playfully in a contrasting voice, “cheesecake.”

“Cheesecake, munchin’ on a cheesecake, munchin’ on a cheesecake

(Cheesecake!)

Cheesecake, gobble, gobble, cheesecake, gobble, gobble, cheesecake

(Cheesecake!)”

After the chorus, Armstrong delivers the bridge, which distinguishes itself, yet still references that cheesecake! “My girl, she’s crazy over cheesecake all the time,” he sings and continues, “So I’ll bring her cheesecake, and she’ll treat me mighty fine!” Ooh-wee! Beyond the chorus and bridge, there is a marvelous instrumental break.  It begins with the piano taking the reins, soloing. Armstrong solos next, briefly, followed by a ripe clarinet solo by Buster Bailey (1902 – 1967). Ah, keeping that Dixieland jazz sound alive in the 1960s! Tyree Glenn (1912 – 1974) also adds sweetness with a mean trombone solo before Armstrong resumes singing. Once more, he captivates with a playful variation of the bridge (more like a tweak), continuing to bless us with the fun cheesecake.  He concludes with the chorus and one final outgoing “Cheesecake!” “Cheesecake” is a surefire vibe the first time you hear it.  No, it’s not deep, nor is it meant to be. Louis Armstrong did what he did best: entertain.

Appears in 🔻:

Louis Armstrong, Cheesecake: Wacky Wednesday No. 7 (2026)

 

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21 Unforgettable and Unusual Songs (2026) [📷: Brent Faulkner / The Musical Hype; 45th & 3rd Music LLC, Atlantic Recording Corporation, Blues Babe Records LLC, Columbia, Famous Studios, Human Re Sources, Keli Holiday, klovisgaynor, One Little Independent Ltd., Orange Mountain Music, PARASIEMPRE.wav Records, Print Music Inc., Rounder, SideOneDummy, Simco Limited, Sony Music Entertainment UK Limited, The Mars Volta, The Orchard, Universal Music (Denmark) A/S, Universal Republic, Urheim, Verve Label Group, Warner, Warner Music Norway AS, Wellhart Ltd; Alejandro Reyes, Elena Smuseva, Jayson Hinrichsen, Oss Leos, The Earthy Jay, Vladimir Konoplev from Pexels; Gordon Johnson from Pixabay]

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