Songs That Feature Names, Vol. 9

Reading Time: 24 min read

Songs That Feature Names, Vol. 9 features songs by Ayham, Barry Manilow, Bruno Mars, Chaka Khan, Erykah Badu, and Santana & The Product G&B.

“Oh, Mandy / Well, you came / And you gave without taking / But I sent you away.”

Oh, Barry Manilow, why did you send Mandy away? Then, there’s Erykah Badu, who sang, “I think you better… Call Tyrone… / And tell him come on, help you get your shit.” My lawd! As for a younger, up-and-coming artist who’s fierce AF, Ayham channels his inner dictator, specifically Saddam Hussein: “No remorse, I came to dominate.” Noted. All three artists from our ninth names installment, Songs That Feature Names, Vol. 9, are singing songs that NAME specific people. Mandy, Tyrone, and Saddam Hussein 👀.

Names are the focal point of the Songs That Feature Names, Vol. 9, which follows eight previous names-driven musical compendiums, including 13 Songs That Feature Names, Vol. 8 (2026). Songs That Feature Names, Vol. 9 features songs by Ayham, Barry Manilow, Bruno Mars, Chaka Khan, Erykah Badu, and Santana & The Product G&B. So, without further ado, let’s dive right into these NAME-led songs, shall we? Looking at you, Adam, Steve, Hercules, Henry, Chakzilla… and more!

~ Table of Contents ~

1. Bruno Mars, “God Was Showing Off”

2. Erika Vikman, “Adam & Steve”

3. Bentley Robles & Kyle Payne, “Hercules”

4. RAYE, “Goodbye Henry.” (Ft. Al Green)

5. Ayham, “SADDAM HUSSEIN”

6. Chaka Khan, “Chakzilla”

7. Tyler, The Creator, “Big Poe” (Ft. Sk8brd)

8. Amy Winehouse, “Valerie”

9. Tsatsamis, “Angelina”

10. Yeat & King Kylie, “Let King Tonka Talk”

11. Erykah Badu, “Tyrone”

12. RYANN, “Dear Mother of My Ex…”

13. Santana & The Project G&B, “Maria Maria”

14. Falco, “Rock Me Amadeus”

15. Barry Manilow, “Mandy”

Songs That Feature Names Series

1. Bruno Mars, “God Was Showing Off”

The Romantic » Atlantic Records » 2026

“God was showin’ off / While makin’ you, ooh / God was showin’ off / Makin’ you, girl.”

Those song lyrics, from the chorus of “God Was Showing Off”, speak for themselves. No further explanation necessary. As always, Grammy-winning pop/R&B singer-songwriter Bruno Mars shows off singing the fourth track from his fourth solo album and fifth overall, The Romantic. This ode to an angel was written by Bruno Mars, Dernst D’Mile Emile II, Philip Lawrence, James Fauntleroy, Homer Steinweiss, Leon Michels, and Dave Guy. Mars and D’Mile produced it.

In Bruno’s eyes, this girl is perfect, PERIODT! “I bet in the pourin’ rain, you still shine,” he sings in the first verse, and adds, “Is Heaven your name? / Or is it Divine? / Don’t matter, girl, it’s gonna look good next to mine.” In the second verse, he admits, “I ain’t never seen beauty like this / I was blind, but now I see.” I see that “Amazing Grace” reference, Bruno! In the pre-chorus, he continues to praise this girl, acknowledging, “The way you put together, only God can do.” Yes, sir 👏! The chorus, excerpted earlier, is the crème de la crème, confirming that God did something special with her. In the bridge, he has to testify, “Hallelujah… Ooh, you make me wanna sing.” And sing Bruno does authentically, with great sincerity and soulfulness. Like most Mars songs, the theme and lyrics are easily digestible, memorable, and relatable. The melodies are tuneful from start to finish. The musical accompaniment and production are terrific, too. There’s the core band (rhythm section), as well as biting, articulated horns and lush strings – the whole shebang! Not only was “God Was Showing Off” when he created this angelic lady, but Bruno Mars also shows off, in a big way, on this sophisticated and sublime soul-pop record.

Appears in 🔻:

~ Table of Contents ~

2. Erika Vikman, “Adam & Steve”

“Adam & Steve” » Warner Music Finland » 2026

“In the beginning, God created the heavens and the earth.”

That’s Biblical, courtesy of Genesis. Then, Finnish pop singer-songwriter Erika Vikman throws in some skepticism: “But what if everything’s a lie? Then no one’s getting hurt.” Uh-oh! Those ultra-devout, hardcore Christians are sure to be pissed off by “Adam & Steve”. Homosexuality and Christianity have an incredibly difficult relationship. Here, Vikman couldn’t care less about super conservative Christians being big mad. DJ RZY, Janne Rintala, and Linnéa Deb wrote the blasphemous “Adam & Steve.” DJ RZY also produced it.

If you’re gay or an ally, “Adam & Steve” shouldn’t offend you in the least. Why? This is a song about love is love, NOT a persecution of Christianity or God. Is this a hymn? Absolutely not, particularly the snakes 🐍 mentioned during the infectious, gay-affirming chorus 👀:

“Have you heard the story about Adam and Steve?

Boys are doing fine, doing fine without Eve

Tonight, there will be two big snakes in Paradise

Have you heard the story about Adam and Steve?

Swinging in the clouds, love is all that we need

Tonight, there will be two big snakes

‘Cause God makes no mistakes

Tonight, there will be two big snakes in Paradise.”

Those snakes mean multiple things, confirmed by the swinging mentioned 😈. The chorus is the crowning achievement, with its tuneful melody and memorable lyrics. Of course, Erika Vikman brings it vocally. Also, she nails it in the verses. “There’s no forbidden fruit, so go and try them all,” she asserts in the second verse, and concludes it like the first, singing, “Spread your wings, do your thing / ‘Cause no one cares in the end.” She should be right, BUT, we know far too many politicians, pastors, and myopic individuals are worried about what’s happening in certain bedrooms and such. In the fun breakdown section, Vikman continues to affirm her support: “A-D-A-M and Steve / In L-O-V-E we believe.” Supported by a vibrant, electronic pop backdrop, Erika Vikman creates a gay anthem for the ages with “Adam & Steve”. LOVE IS LOVE, PERIODT!

Appears in 🔻:

~ Table of Contents ~

3. Bentley Robles & Kyle Payne, “Hercules”

Olympus » Bentley Robles / ONErpm » 2026

“I am everyone’s favorite vibe / I’m everyone’s favorite guy / When body and mind collide / Is how I identify.”

Woo 💅! Our favorite, yellow-haired gay pop star, Bentley Robles, ate that shit up! He raps on “Hercules”, oozing with confidence. Filled with personality, Robles continues, “Oopsie I got too jacked / Pecs right down to my ass / Can’t control my impulses / Guess Eso es lo que es.” Pecs down to the ass? Gah-day-um, boiii 😍! Robles gets an assist on the eighth track from his debut album, Olympus, courtesy of gay rapper Kyle Payne. Robles, Payne, and FLORIO (Dominic Florio) wrote “Hercules.” FLORIO also produced the infectious bop.

Booties will get a workout while listening to “Hercules.” The sickening percussive beat provides a mighty anchor. With the sleek rhythmic synths, the gay club is alive and well. After his big-time, unpitched verse, Bentley Robles briefly delivers some sweet, sung vocals. Even as sweet as his voice sounds, Bentley continues to be cocky and confident, as he is “Breaking all their skulls between my thighs.” As epic as the first verse and refrain are, it is the chorus where Robles most kicks ass and takes names. You might say that he gives a Herculean effort!

“Look at me

I’m hulked like Hercules

So sorry

I’m pretty and I’m sweet

Look at me

I’m hulked like Hercules

Can’t you see

This papi’s been released.”

Kyle Payne delivers some mean rhymes that are gay, gay, GAY! He boldly proclaims, “I am every man’s favorite prize / This ass, it’s an Enterprise.” Ooh-wee, he’s proud of that peach 🍑! There are numerous eyebrow-raising, unforgettable moments from his verse including “Eyes Wide Shut, make him pledge first / Got me like mut, all fours, had to edge first / Drink in my cup, I might let him make the wedge squirt,” and “Take it from the back, but I enter through the main door / Check the name, ain’t gotta wonder what the Payne for.” All told, Bentley Robles and Kyle Payne cook on “Hercules”. The song is well written, well produced, and most of all, well performed. The gays have a summer bop for any time of the year!

Appears in 🔻:

Bentley Robles & Kyle Payne, Hercules: Beaming with Pride No. 45 (2026)

~ Table of Contents ~

4. RAYE, “Goodbye Henry.” (Ft. Al Green)

THIS MUSIC MAY CONTAIN HOPE. » RAYE / Human Re Sources » 2026

“This is a sad song,”

RAYE (Rachel Keen) asserts in the intro of “Goodbye Henry.”. The British singer-songwriter adds, “In fact, it makes me so, so sad to sing this song / But I will sing it for you anyway.” Despite her sadness, I’m glad Keen decided to share the 10^th track from her 2026 album, THIS MUSIC MAY CONTAIN HOPE. Sweetening the deal is the fact that she collaborates with a musical icon: Al Green! “Goodbye Henry.” was written by RAYE, Paul Murray, Matt Brooks, Chris Hill, Graeme Blevins, Augie Haas, Tom Richards, and Oscar Steiler. RAYE and Pete Clements produced it.

RAYE dominates most of “Goodbye Henry.” Following the intro, she performs the first verse, pre-chorus, chorus, second verse, pre-chorus, chorus, and an interlude. In the first verse, RAYE reveals she’s writing the song about “A very lovely boy / And his name isn’t even Henry.” Oh! She adds, “In another life we could have made it / But in this one, well, we let go.” Word. Speaking of another life, in the second pre-chorus, Keen states, “I’d wear his ring, and we’d have three beautiful children.” Ooh-wee! The chorus, varied each time, is intriguing. In its second iteration, she concludes:

“And who knows, Henry? Maybe one day we could try again

Don’t forget me (Don’t forget me) or regret me (Or regret me)

I tell him, ‘Goodbye, Henry.’

I told you this was a sad song.”

RAYE sings beautifully and playfully. The sophisticated, soulful backdrop, intact with organ, adds to the allure. As for Al Green, he enters the mix for the first time in the third verse. Not before a proper introduction by RAYE. The Memphis soul-like cues suit him. “It’s nice to be on a microphone with a story to tell,” he says, and later sings, “Sometimes in life, we have to say goodbye / Tears falling from our eyes.” In the chorus and bridge that follow, RAYE leads the charge, with distinct, soulful contributions from Green and one significant joint moment (“Still in love, still in love, still in love with him”). RAYE concludes with the outro: “And as I watch Henry drive out of my life / I warned you, dear listener, didn’t I.” Yep, RAYE, you sure did. All told, “Goodbye Henry.” marks another compelling song from THIS MUSIC MAY CONTAIN HOPE.

Appears in 🔻:

~ Table of Contents ~

5. Ayham, “SADDAM HUSSEIN”

“SADDAM HUSSEIN” » Ayham » 2026

“I’m a fucking dominator.”

Woo! He said what he said, NO CAP! Ayham (Ayham Fayad) is one bold MFer, and that is a big reason he’s intriguing. Beyond being brash and unapologetic, he’s (1) talented and (2) aesthetically pleasing (an understatement). BUT, but, but, we’re here to talk about “SADDAM HUSSEIN”, not how the bod is bodying on the cover art, or on IG. It takes cajónes to record a song named after an incredibly controversial politician. “SADDAM HUSSEIN” was written and produced by Ayham. It was co-produced, mixed, and mastered by Noah Grewing.

@iamayham_

♬ SADDAM HUSSEIN – Ayham

“SADDAM HUSSEIN” is a piece of work – compelling work, of course! It features aggressive, dark production, which is fitting considering who it’s named after. The beat goes HARD. Those drums are incredibly rhythmic, at times feeling like they will pummel the absolute shit out of you. The synths sizzle, with bite, distortion, ferociousness, and most of all, in-your-face-ness. As for Ayham, the star of this unforgettable show, he keeps the same energy. From the get-go, he’s locked and loaded, unleashing the ether. At times, our handsome rapping-ass fella whispers. He doesn’t soften up, though. Instead, the attitude and those rhymes continue to go hard. “Everybody want to know what I’m about to do next,” he raps in the second verse, and adds, “They be on my dick like we about to have sex.” Ooh-wee! The chorus is the crème de la crème, filled with dictator-laden language including shoot, loot, and annihilate, and concluding with the statement, “No remorse, I came to dominate.” Is “SADDAM HUSSEIN” controversial? Of course. Is it fire? Of course. Ayham ate and left no crumbs. Even when you can’t decipher every lyric he spits, you feel that undeniable energy.

Appears in 🔻:

Striking Bops from July 2026

~ Table of Contents ~

6. Chaka Khan, “Chakzilla”

“Chakzilla” » EarthSong Records / BMG Rights Management (UK) Limited » 2026

“It was winter, and now every day’s summer / I been waiting to get laid in this number.”

Ooh-wee! Get it, Chaka Khan! The legendary, Grammy-winning singer-songwriter brings it on her colorfully titled, electrifying single, “Chakzilla”, written by her, Sia, and producer Greg Kurstin. What does Chaka bring the most of on “Chakzilla?” Those epic, big vocals. She sings her face off and sounds as fresh as she did at her peak in the 1970s and 80s. A once-in-a-lifetime singer, you can hear why she’s earned the accolades she has by listening here. Not only do the vocals hit, but she is incredibly assertive, commanding, and confident in her performance. “You’re the kind, you’re the kind that I like,” she sings, and continues, “Creature of the night, creature of the light, light.” Backed by funky, vibrant, pop/R&B musical accompaniment, everything feels right. There are plenty of memorable lyrics, including the ones excerpted above, with ear-catching melodies to match. The section to beat is the chorus, which is a BIG deal!

“I know that I am great

(I’m a giant, I’m a giant)

I know the rules I’ll break

(I’m a giant, so come up come up come up)

Forever, my heart aches

(I’m a giant, I’m a giant)

Cos you’re my equal

I’m a giant

I’m a giant.”

GIANT, indeed! In short, “Chakzilla” is a soulful pop bop by the legendary Chaka Khan. She has nothing else to prove at 73, but SIS ATE DIS UP, PERIODT!

Appears in 🔻:

Striking Bops from May 2026

~ Table of Contents ~

7. Tyler, The Creator, “Big Poe” (Ft. Sk8brd)

DON’T TAP THE GLASS » Columbia » 2025

“I’m Big Poe, huh, nigga (Ayy).”

Good to know, Tyler, The Creator (Tyler Okonma)! The colorful “Big Poe” commences Tyler, The Creator’s 2025 Grammy-nominated alternative music album, DON’T TAP THE GLASS. Speaking of tapping, the Grammy-winning rapper taps Pharrell Williams, as Sk8brd, for the assist. Tyler, The Creator produced the record, which features at least 15 songwriting credits 👀. Unsurprisingly, samples play a crucial role: “Roked” by Shy Ben Tzur, Jonny Greenwood, and The Rajasthan Express, “Pass the Courvoisier Part II” by Busta Rhymes, and “Hey Hey” by Gerson Kingsley.

“Big Poe” begins with a unique intro featuring vocal effects and referencing the title of the album (“Number three (nigga), don’t tap the glass”). Tyler, The Creator performs ad-libs in the background in his traditional voice. There are unique vocal ad-libs post-intro as “Big Poe” begins to settle in from The Rajasthan Express sample (“Roked, roked, roked I’Elohim / Roked, roked, roked m’Elohim”). Tyler, The Creator is his usual, unapologetic self once the groove kicks in during the first verse. “Burn this shit down, turn this shit up / I don’t consent, I don’t give fucks,” he raps, and continues, boldly, “You on my dick, nigga, get up / Wipe your lips off while I zip up, huh.” Damn! As always, TTC delivers a compelling cadence and flow. This continues in the unforgettable chorus where he dubs himself as Big Poe. Tyler continues eating and leaving no crumbs in the second verse, where hates “lightskin niggas,” but likes “darkskin” and “lightskin bitches.” He concludes the eyebrow raising verse with a Super Mario reference (“Right now, I’m Mario, pipe down”). Sk8brd, aka Pharrell Williams, raps the third verse where he’s “Married to the game, forty carats in the rings,” and concludes, “I got a bunch of wolves, they are dialed in.” Tyler drops another solo verse, memorably spitting, “You weird as fuck, nigga, I said stop /… I don’t trust white people with dreadlocks.” Lordy! The Busta Rhymes “Pass the Courvoisier Part II” sample arrives in timely fashion as the bridge (“Don’t this shit make a nigga wanna (jump, jump)”). There is one final verse, courtesy of Williams, rapping fiercely (“Oh, what, you wanna get loud then? / Huh, fuck around and get found then”). The Rajasthan Express sample reappears in the outro. All in all, “Big Poe” is not only a hell of a ride, but a hell of a lot of fun to listen to. This is an epic way to start DON’T TAP THE GLASS.

Appears in 🔻:

~ Table of Contents ~

8. Amy Winehouse, “Valerie”

AMY (Original Motion Picture Soundtrack) » Island Records » 2015

“Won’t you come on over? / Stop makin’ a fool out of me / Why don’t you come on over, Valerie?”

For sure, Valerie! No, Amy Winehouse (1983 – 2011) did NOT originally record “Valerie”, but man, it feels like it belongs to her. Instead, an English indie rock band, The Zutons recorded it on their 2006 album, Tired of Hanging Around. Winehouse earned more recognition for her covers. “Valerie – ‘68 Version” was my first introduction to “Valerie” from Winehouse, appearing on 2011’s Lioness: Hidden Treasures. Amy Winehouse ‘ate up’ various renditions of “Valerie,” written by Sean Payne, David McCabe, Abigail Harding, Bryan Chowdhury, and Russell Pritchard.

Focusing on “Valerie (Live At BBC Radio 1 Live Lounge, London / 2007),” her voice is marvelous, once in a lifetime. Like her lauded performances on her Back in Black album, Winehouse sings expressively, showing off her gritty, throaty pipes. The coarseness of her instrument is part of the charm. Beyond bringing the memorable lyrics and tuneful melodies to life, she serves up some delightful ad-libs, upping the ante. In the more stripped, loungey Live At BBC Radio 1 Live Lounge, London / 2007, the musical accompaniment is a bit more laid-back. Rather than pummeling drums, gentler, rhythmic percussion keeps the groove afloat. Filling in the production are soulful guitar, fat bass, and electric keys, often performing eighth-note, ostinato chords. The vibe is old-school – retro-pop and retro-soul. Even if the lack of drums takes a bit of the edge away, this version still cooks. Also amplifying the late, short-lived Grammy winner are soulful background vocals. Another cover of “Valerie,” attributed to Mark Ronson (b. 1975), with full instrumentation and a quicker tempo, features Winehouse. This take begins with a blend of hard-hitting percussion and body percussion. Following a colorful rapped intro by rapper Wale, an undeniably funky groove settles in, beginning with bass and drums. Eventually, the keys, horns, and strings get into the mix. Of course, the most important piece of the pie is Amy Winehouse. Simply put, she’s in her zone. Regardless of the version of “Valerie”, Winehouse made it hers.

Appears in 🔻:

Amy Winehouse, Valerie: Covers No. 9 (2026)

~ Table of Contents ~

9. Tsatsamis, “Angelina”

Tsycophant » Listen Generously » 2026

“You put me out / When I sext you in the day.”

👀 Oh, really, Tsatsamis (he/him)? If it were you and me, you wouldn’t have to worry about that 🤭! It might make a far less interesting song, however. “When you wanna talk, and I wanna touch / It only ever hurts you when I want your love.” Tsk, tsk, tsk. Clearly, Tsatsamis and his “Angelina” are in two different places when it comes to their relationship. Touch is Tsatsamis’s love language, but it is not the case for Angelina. He wrote this thrilling pop song himself and produced it with Clarence Clarity.

Tsatamis stands out in “Angelina” for many reasons. It begins with the sound, which is vibrant thanks to synths and an epic, danceable groove. The harmonic underpinnings (harmonic progression) make “Angelina” sound much sweeter than the bore she’s portrayed as in the song 😏. Tsatsamis sings angelically as he expresses his lust. But his desire is unreciprocated. “When you wanna talk, and I wanna touch / When I wanna fuck, and you wanna rush,” he sings in the second pre-chorus, and continues, “When you want space, it hits like a punch / It only ever hurts you when I want your love.” Word. By the chorus, the centerpiece, these hard truths are loud and clear, and a break-up is imminent: “My Angelina / Oh, can’t you see it baby / We’re changing seasons /And you’re stuck in your ways.” It is hard for him to admit, but he is making sacrifices… sexually. Another high-flying moment of the song is the bridge. It distinguishes itself from the verses and chorus, but it is also connected to the theme.

“It’s days like this, I see the end

When nothing’s wrong, but nothing bends

If it all fucks up, if the drugs won’t do

Whatever happens, just remember me, won’t you?”

It’s a bummer that things have fallen off between Tsatsamis and his Angelina, but “Angelina”, the song, is another bop from this talented fella. Great vocals, electrifying music, and compelling theme and lyrics make this a surefire winner for the queer pop standout.

Appears in 🔻:

~ Table of Contents ~

10. Yeat & King Kylie, “Let King Tonka Talk”

ADL » Lyfestyle Corporation / Field Trip Recordings / UMG Recordings, Inc. » 2026

“Hold on / Yeah, let King Tonka talk / I just walked inside this club, I got two bitches and they grabbin’ on me (King Tonka).”

And thus begins “Let King Tonka Talk”. Yeat (Noah Olivier Smith) and King Kylie (yes, Kylie Jenner 👀) collaborate on the promo single from Yeat’s 2026 album, ADL. Yeat does the heavy lifting, but Jenner drops a few bars… very few. The West Coast rapper recorded a song called “King Tonka” in 2024. Yeat, Jenner, and producers Dylan Brady, Lucid, and Daniel Chetrit composed the colorful “Let King Tonka Talk.” The results are… something…

Yeat draws first blood, performing the intro, excerpted above. From there, he drives into the verse with his Tonka truck… He reiterates the lyrics from the intro regarding those two bitches, and adds, “She be thinkin’ that just ‘cause we fuck, this shit is matrimony (Fuck) / When she find out that I fucked her friend, she gon’ be mad, she know me.” S- and f-bombs e’erywhere! Sex is part of the modus operandi, and of course, meaningless sex… Other memorable moments from this verse include: “I be higher than a god, lil’ bitch, and look at me, I’m put together / Every time I pull up on these pussies (Ha), bitch, I change the weather.” Oh, my… Soon after those thought-provoking lines, King Kylie gets in on the action: “Let King Kylie talk / I just walked inside this club and all these bitches, yeah, they grabbin’ on me.” Noted, and there’s the cameo. As for Yeat, we get more braggadocio. “Every time I touch this bitch, it’s third degree, that’s how I fuck her,” he spits, and later adds, “I might as well be a bartender, when she pull up, she gon’ sip / I’m a nicotine fiend, she a hookah, and I rip.” He doesn’t lie when he says he “be talkin’ so much shit.” That’s essentially what “Let King Tonka Talk” is. Backed by a trunk-rattling, malicious, minor-key backdrop, Yeat goes in. Does he say much? Absolutely not. Does King Kylie say much? Hell to the naw. This three-minute shit-talking rap track is a vibe hot mess. And yet, I included it on a playlist… side-eye me!

~ Table of Contents ~

11. Erykah Badu, “Tyrone”

Live » Universal Records / UMG Recordings, Inc. » 1997

“I think you better… Call Tyrone… / And tell him come on, help you get your shit.”

Oh, shit, Erykah Badu (Erica Wright, b. 1971)! The five-time Grammy-winning neo-soul singer-songwriter struck gold with her single, “Tyrone”. “Tyrone” appears as the 12^th track on her 1997 Grammy-nominated, double-platinum live album, Live. There is also an extended version of the track that concludes the album. Badu wrote and produced “Tyrone” with Norman “Keys” Hurt. Notably, “Tyrone” was nominated for a Grammy for Best Female R&B Vocal Performance at the 41^st Annual Grammy Awards. This R&B gem didn’t require an award for validation – it’s the sugar, honey, iced tea!

Erykah Badu begins “Tyrone” with ample personality. In the intro, she memorably asks, “Sisters, how y’all feel? / Brothers, y’all alright? / Right… see how y’all groove to this…” We groove just fine, Erykah! “Tyrone” thrives off its neo-soul musical accompaniment: keys, drums, and a robust anchor provided by the bass. The groove is marvelous! Badu impresses with her jazzy, nuanced performance. As evidenced by the introduction, Badu brings attitude, personality, and a lot of sass. “I’m gettin’ tired of yo’ shit,” she cries foul in the first verse. She memorably adds, “You gotta bring Jim, James, Paul, and Tyrone / See, why can’t we be by ourself sometimes?” Legitimate question. In the second verse, Badu is still fed up with his shit! “Now every time I ask you for a little cash / You say ‘Naw,’ but turn right around and ask me for some ass.” Ooh-wee! It doesn’t stop there! “And you know the deal, nigga / Every time we go somewhere, I gotta reach down in my purse,” she sings in the second verse, and adds, “To pay your way and your homeboys’ way / And sometimes ya cousin’s way.” Ooh-wee, no bueno! Badu delivers memorable lyrics and tuneful melodies about how this dude sucks, particularly in the chorus, excerpted earlier. Badu concludes “Tyrone” to roaring applause as she sings, “You need to call Tyrone (Call him) / Hold on / But you can’t use my phone.” Oh, snap! “Tyrone” remains one of the truly great songs from the neo-soul era. Erykah Badu did her big one!

Appears in 🔻:

Erykah Badu, Tyrone: Throwback Vibez No. 206 (2025)

~ Table of Contents ~

12. RYANN, “Dear Mother of My Ex…”

“Dear Mother of My Ex…” » RYANN » 2026

“Dear mother of my ex / You probably wonder why I don’t visit anymore / We didn’t say goodbye / And I think your son didn’t tell you why.”

That is quite the situation, RYANN (Ryan Adriaens). The Queer Netherlands pop singer/songwriter needs to tell his ex’s mom about what went down between him and her son. This suggests that the relationship that RYANN had with his ex-boyfriend was substantial since Mom is involved. On the enjoyable and honest “Dear Mother of My Ex…”, RYANN unveils his truth. Adriaens composed and produced the track.

“Dear Mother of My Ex…” is a vibe from the get-go. It thrives on an infectious beat where the groove is grooving! Adding to the musical excellence are lovely keyboards, pads, and synths. Although it is an emotional experience he sings about, RYANN keeps his performance cool, calm, and collected. He informs his ex’s mom that she doesn’t know the full story. In the second verse, he tells the mom that her son found someone new, said false things about him, and probably thought he was too gay. In the utterly infectious chorus, the centerpiece, he expresses that her son (his ex) cheated on him. He doesn’t mince his words:

“Your son put his lips on someone else

He put his dick in someone else

Curious what he said to you, about this

I am not to blame; he made the mistake.”

That is transparency at its finest. If you are a gay man who is in a monogamous relationship (which can be rare, unfortunately), having sex with someone not your boyfriend is a no-no. The bridge contrasts the verses and chorus, adding some colorful pads. Thematically, it relates to everything else. Even if he is heartbroken regarding his ex and sad that he no longer sees his ex’s mom, whom he admires, RYANN keeps his composure. “Dear Mother of My Ex…” is another fabulous pop cut from this handsome, talented young man’s catalog. He continues to keep things unapologetically queer, and who would have it any other way?

Appears in 🔻:

~ Table of Contents ~

13. Santana & The Product G&B, “Maria Maria”

Supernatural » RCA/JIVE Label Group / Sony Music Entertainment » 1999

“Ladies and gents, turn up your sound systems / To the sound of Carlos Santana / And the G&B.”

First things first. “Maria Maria” is credited to Santana, featuring hip-hop/R&B duo The Product G&B (David McRae and Marvin Moore-Hough). The Product G&B ARE considered one-hit wonders as “Maria Maria” is their only charting song on the pop charts. The good news is that the seventh track from Santana’s multi-platinum, Grammy-winning album, Supernatural, spent 10 weeks at number one on the Billboard Hot 100. In 2000, “Maria Maria” was ubiquitous – an inescapable juggernaut on the airwaves. Beyond its chart dominance, “Maria Maria” won the Grammy for Best Pop Performance By A Duo Or Group With Vocal. Carlos Santana (b. 1947) wrote this unforgettable hit with McRae, Moore-Hough, Wyclef Jean, Jerry Duplessis, Raul Rekow, and Karl Perazzo. Jean and Duplessis produced it. The sounds are glorious, blending R&B, hip-hop, pop, and Latin-pop seamlessly. The groove, the bass line, and that Spanish guitar are EVERYTHING!

David McRae is responsible for the crown jewel of “Maria Maria,” the chorus. The chorus follows the Wyclef Jean introduction, excerpted earlier. McRae’s voice is radiant and filled with soul.

“She remind me of a West Side Story

Growing up in Spanish Harlem

She living the life just like a movie star

Oh, Maria, Maria

Oh, she fell in love in East L.A

To the sounds of the guitar

Played by Carlos Santana.”

Following McRae’s inspired chorus, Carlos Santana drops a sweet guitar solo. McRae returns, singing the first verse. “Stop the looting, stop the shooting / Pickpocketing on the corner,” he sings in the socially conscious verse. Santana performs the refrain that follows before McRae drops the ace-in-the-hole chorus once more. McRae drops another gem in the second verse: “I said a favela los colores / The streets are getting hotter / There is no water to put out the fire.” Following another refrain, McRae drops the bridge where he still speaks of Maria: “Maria, you know you’re my lover /… Still feels like we’re together, Maria, yeah.” Following the final chorus, Santana drops another ear-catching guitar solo, followed by the outro where Wyclef Jean caps things off, memorably saying, “Yo Carlos, man, you’re making that guitar cry.” He wasn’t lying either! All told, “Maria Maria” is nothing short of an R&B-infused Latin-pop bop. This is the crossover hit that many musicians just wish they could record. Pushing three decades later, this song is still the sugar, honey, iced tea.

Appears in 🔻:

Santana & The Product G&B, Maria Maria: 1 Hit WONDERful No. 5 (2026)

~ Table of Contents ~

14. Falco, “Rock Me Amadeus”

Falco 3 » Sony Music Entertainment Austria GmbH » 1985

“Amadeus, Amadeus / Ah, come and rock me.”

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 🔻:

~ Table of Contents ~

15. Barry Manilow, “Mandy”

Barry Manilow **» Barry Manilow II » Arista Records LLC » 1974**

“I’m standin’ on the edge of time / I’ve walked away when love was mine,”

Barry Manilow (Barry Alan Pincus, b. 1943) sings in the third verse of his beloved song, “Mandy”. The talented, theatrical performer adds, with incredible sincerity, “Caught up in a world / Of uphill climbing.” “Mandy” is the third track from Manilow’s 1974 platinum-certified album, Barry Manilow II. Scott English (1937 – 2018) and Richard Kerr (1944 – 2023) wrote it. Manilow and Ron Dante produced it. Notably, “Mandy” is a cover. The original, “Brandy”, was recorded by English in 1971. Even so, it is Manilow who made the song a big-time hit. “Mandy” peaked at number one on the Billboard Hot 100. It was nominated for the Grammy for Record of the Year at the 18^th Annual Grammy Awards.

A gorgeous piano intro sets the tone for Manilow’s vocals. “Mandy” commences as a piano ballad, which is fitting given the tenor of the song. When Manilow enters, he sings with expressiveness, radiance, and sincerity. You buy what he is selling, easily. He is the main attraction, but the backdrop is sweet, too. The record does not stay a piano ballad. The bass adds more body once it enters. Soon enough, the musical accompaniment fills out even more with drums, lush strings, and additional orchestral touches. There are glorious melodies during the verses and the chorus. The lyrics are none too shabby either. “I see a memory / I never realized / How happy you made me,” he sings at the end of the second verse. The chorus, specifically, is the section to beat:

“Oh, Mandy
Well, you came
And you gave without taking
But I sent you away
Oh, Mandy
Well, you kissed me
And stopped me from shaking
And I need you today
Oh, Mandy.”

As awesome as the chorus is, the bridge section is ultra-powerful, arguably the best moment of the song, not named the chorus. “Yesterday’s a dream / I face the morning,” Manilow sings, and adds, “Crying on a breeze / The pain is callin’.” A few more notes about “Mandy.” I love how the pianist digs in as the song intensifies. The same can be said about how the French horns up the ante ahead of the bridge section. Adding to the theatre, the drama of it all, is the modulation towards the end of the record. It is utterly sublime! By the end of “Mandy,” those strings are turned all the way up, and Manilow keeps the same energy with his high-flying vocals. “Mandy” is a timeless classic. Barry gives his all with some help from stellar songwriting, orchestration, and production.

Appears in 🔻:

Barry Manilow, Mandy: Throwback Vibez No. 13 (2026)

~ Table of Contents ~ » ~ intro ~

Songs That Feature Names Series on The Musical Hype 🔻
15 Compelling Name Songs (2021)	13 More Songs That Feature Names in Their Titles (2021)	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)
13 Songs That Feature Names, Vol. 7 (2025)	13 Songs That Feature Names, Vol. 8 (2026)	Songs That Feature Names, Vol. 9 (2026)

~ Table of Contents ~ » ~ intro ~

Songs That Feature Names, Vol. 9 (2026) [📷: Brent Faulkner / The Musical Hype; Arista Records LLC, Atlantic Records, Ayham, Bentley Robles, BMG Rights Management (UK) Limited, Columbia, EarthSong Records, Field Trip Recordings, Human Re Sources, Island Records, Listen Generously, Lyfestyle Corporation, ONErpm, RAYE, RCA/JIVE Label Group, RYANN, Sony Music Entertainment, Sony Music Entertainment Austria GmbH, UMG Recordings, Inc., Universal Records, Warner Music Finland; Artem Podrez, Geff Ferreira, Mike Jones, Oscar Carbajal, Polina, Sephina Cornwall, Talal Hakim from Pexels; Gordon Johnson, Maicon Fonseca Zanco from Pixabay]

Songs That Feature Names, Vol. 9 | Playlist

Published by the musical hype on August 7, 2026August 7, 2026