This was the second single off Earle's 1988 breakthrough Copperhead Road album - and, as a country-rock album, it was outside my wheelhouse from a musical taste standpoint. However, off the strength of "Copperhead Road", the single, I purchased this album.
The standout for me wasn't the title song (which I liked for a while but grew tired of), but, rather, this gritty song about homelessness. The video supports it - directed by Meiert Evis and featuring homeless people. Written by Earle, the entire album and this song in particular cemented his legacy as a great storyteller.
Yes, Earle still performs this song live. Here he is in 2018, 30 years after the song's initial release (yes, this song is 35 years old this year), performing it as gritty as ever in New York City.
We were watching The Handmaid's Tale on Hulu the other day and we noticed that there was a young actress who was playing a character that was mature beyond her years. The character was Esther Keyes, and the actress was 16-year-old Emmy nomineee Mckenna Grace - and she is the youngest-ever Emmy nominee in any of the Best Guest Actor categories (and 10th youngest nominee in ANY category). We know that 2nd part because we had to do a little research on this young actress.
Turns out she's an actress who sings - and has released several singles. According to her website, she started this as a creative outlet during the pandemic, which, of course, did limit acting opportunities. Music allowed her to get her emotions out.
This single was released in November 2022 and was co-written by Grace. The song itself was in the pop-rock genre that she's gravitated towards at this point in her young career. The video was filmed after the actress's surgery to correct a scoliosis-casued 45 degree curvature to her spine (which she SHOWS you at the 2:00 minute mark of the video - yeah, that's her back). It was directed, written, and edited by her, as she was pretty much confined to a chair in the weeks following her surgery (a doctor's directive she ignores at the 0:48 mark of the video).
I exprect great things in the future, both in acting and music.
Very soon after this video was performed, she seemed to be walking just fine - and she shows off the scar as she performed the song live.
The Lemonheads is really one guy - Evan Dando - pretending he's a band with a bunch of whatever friends happen to be available at the time. That included people from other Boston bands, session musicians, and at two different times, a couple of Blake Babies (another band he was a member of).
This was a single from their 1992 breakout album, It's A Shame About Ray. Written by Dando, the cheery-sounding song is about a guy who wanted to love someone but just couldn't, and instead decides to be alone. The fourth and final single from that album, it was a minor hit in the UK.
It also happens to be one of my favorite songs by the band.
The Lemonheads are still together, and still performing this song live, thirty years later.
There was a time when Huey Lewis & The News were my favorite band. I loved Sports. Their early work was a little too new wave for my tastes, but when Sports came out in '83, I think they really came into their own, commercially and artistically.
Then Fore! came out and exploded, and I remember finding the first single off the album to be rather bland, so I moved on.
Then they released their second single, which was all about how not actually cool they were - and I remembered why I liked them again. The song is not just about the pleasures of conformity, and the importance of trends, it's also a personal statement about the band itself. That's not an original thought by me. It's a quote from American Psycho, a film in which this song was featuted. It's also not the first American Psycho quote I peppered in here, so start hunting.
This song was a #3 hit for the band in 1986, and featured background vocals from Football Hall of Famers Ronnie Lott and Joe Montana, who at the time were playing for Huey's hometown San Francisco 49ers.
This song appears on both the band's 1983 debut album The Secrets of The I Ching and their 1985 major label debut, The Wishing Chair. It is a song that longtime fans clamor to hear live (and in my times seeing them live, I did hear it a couple of times).
"My Mother The War" is the rare song with lyrics not solely written by Natalie Merchant from the early days of 10,000 Maniacs - it was co-written with Michael Walsh, with John Lombardo writing the music in the style that was so distinctive for the early days of the band.
I don't know what else to say about this except, go Jamestown!
The band is still around, although Natalie left the band in the mid-90's (despite what you may have heard, it was amicable). Here is not-usual-vocalist John Lombardo singing the song during a sound check in 2022.
Here he is singing it in 2015 - you can see usual vocalist Mary Ramsey walk off stage as they play the song that defined the early band she wasn't part of (although she comes back).
In 1976, Motown artist Charlene released a single that was widely considered to be a flop. It reached a whopping #97 on the Billboard Hot 100 charts.
She was subsequently dropped from her label, married an Englishman, and moved to the United Kingdom to work in a sweetshop.
The single would have been forgotten if not for a little-known DJ named Scott Shannon, at the time on the radio in Tampa, Florida. His girlfriend loved this song, and in 1982 urged her boyfriend to play it - which he did. Listeners loved the song, and so Shannon, who used to work for Motown Records, made a few phone calls to his old bosses about the hit potential of the song.
So, imagie that you've left the music industry, largely feeling like you've failed, only to get a call from the president of Motown Records telling you that you weren't a failure and, indeed, he wanted to resign you to his label. Charlene doesn't have to imagine, that, because that's what happened to her.
The second time around, the song was a worldwide hit, hitting #3 in the US and #1 elsewhere. It was also a crossover hit, with country radio picking up the song as well.
The song revived her career, and although her time on Motown would only last a few more years. leaving her a one hit wonder in the US (she did have more hits in Europe), she has built a career that still continues to this day, including recording new music as of 2022.
The song recieved something of a resurgence in 1994, with the release of the Australian movie The Adventures of Priscilla, Queen of the Desert, which you should go watch right now. This song was performed by Hugo Weaving as a female impersonator - an audience that truly embraced this song in real life.
Unusually, Charlene did re-record the song - but only in Spanish. This ended up being a B-side of a follow-up single, which didn't nearly match the runaway success of "I've Never Benn To Me".
You had to expect this today. It's Darling Buds Day.
Long time readers of this blog will know that this happened accidentally - when we posted Darling Buds songs on two May 6ths in a row. I hope you, as a new long-time reader, will enjoy this for years to come.
This song, the FIFTH single from their debut album Pop Said..., is a power-pop masterpiece, with Andrea Lewis (who co-wrote every song on the album with Harley Farr) exercising her vocal chops and eschewing any comparisons to Debbie Harry, Tracy Tracy, and Wendy James.
I would have sworn up and down that I did this one already. I cannot find it. So, if this is a repeat song, let me know.
I can tell you we've talked about Kesha Sebert a LOT before, so I won't dive into her background too much. I can tell you that she was surprisingly amazing when I saw her live. She's got quite a stage presence and a stunningly strong musical range.
This song doesn't exactly stretch her range. It is a synth-heavy dance number about clubbing.
Except it isn't. Kesha was inspired to write this song in the wake of an uptick in the number of gay teens killing themselves. In her words to Entertainment Weekly:
I wanted to inspire people to be themselves. It’s a celebration of any sort of quirks or eccentricities.
In a separate interview with Rolling Stone, she elaborated.
I was really affected by the suicides that have been happening, having been subject to very public hatred [myself]. I have absolutely no idea how these kids felt. What I'm going through is nothing compared to what they had to go through. Just know things do get better and you need to celebrate who you are. Every weird thing about you is beautiful and makes life interesting. Hopefully the song really captures that emotion of celebrating who you are ... I just felt like people hate because they don't understand or they're jealous, It's all coming from a very negative place and I really feel like people don't need to pay attention to that.
She wrote a pride anthem and cleverly disguised it as a club banger. And this song is an absolute banger. It was also a huge woldwide hit, debuting at #1 in the US and topping charts around the world. It is arguably her biggest hit and best known song.
Of course, in the decade since this song came out, Kesha dropped the dollar sign and took a decidedly more rocking turn. In this live performance from 2021, she's got a full band backing her - and it absolutely rocks.
And she makes it clear that it's still a pride anthem.
I wanted to include this older performance - one that rocks even harder - but also, pay attention to what she says starting at around 3:10 of this video.
I'm sick and tired of bully motherfuckers trying to make us feel like we shouldn't be ourselves all the fucking time. I won't stand and we can't stand for discrimination of any kind - not tonight, not now, not fucking ever. I'm talking about what country you're from, what your skin color is, what your sexual preference is, what your gender identity is, or any other kind of discrimination. There's no room for that shit here. There's no room for any more hate in this world. That's what this song is about. It's about us celebrating who the fuck we are. And now it's kind of turned into my personal life mission to spread as much love, equality, glitter and rock and roll until the day I die - until I'm six fucking feet underground. I love you just as you fucking are. Fuck what anyone else thinks.
This story starts with an older brother - a keyboardist - recruiting his kid sister to be in his band.
Eric Stefani is featured in this video. He's the guy playing keyboards.
Tom Dumont, the guitarist, wrote the beginings of the lyrics for this song as a poem in high school, with Eric writing the melody and other members of the band contributing lyrics. Eric was the bandleader and prinicpal songwriter.
Their debut album was a commercial failure - a huge flop - so much so that Interscope Records refused to budget money for a video for the only single from the album.... so the band raised $5000 to make their own.
Unlike their later work, this song - and the whole first album, in fact - was pure ska. Later work was ska-influenced, but not as pure as this. In fact, it was differences over that change that led Eric to leave the band, and in fact music altogether - becoming a full-time animator on The Simpsons - leaving primary songwriting duties for the band to his kid sister, Gwen.
This isn't to say they forgot their roots. The band still performed this song live for many years.
And there wasn't really any ill will against the band by Eric - the split was creative, not acrimonious.
Cyndi Grecco was never a household name. Her voice, however, was well-known, playing on ABC every week for eight years and for years in syndication afterwards.
You see, Cyndi Grecco was the vocalist featured on a theme song for a television show called Laverne & Shirley. A spinoff from Happy Days, it was a midseason replacement show in early 1976, Originally called Laverne Defazio & Shirley Feeney (that title was quickly shortened), the show made stars of Cindy Williams and Penny Marshall.
And this iconic opening made the theme song immediately recognizable, and brought the terms "schlemiel" and "schlimazel" into the vernacular. Both are Yiddish terms referring to a chronically unlucky person, and can be best defined with the sentence "the schlemiel spills his soup on the schlimazel."
Of course, as soon as the show came out and the theme was inserted into the American consciousness, everyone was requesting the song from their local radio stations, and so it was released as a single in 1976. It became a top 30 hit in the US and Canada.
Despite her flash fame, Cyndi Grecco has not charted again since this song. Subsequent attempts failed to chart. Perhaps it's because this song was so earnest and inspiring - and still is.
I used to say that two celebrity deaths in my lifetime gave me kind of a gut punch - Fred Rogers and Steve Irwin, both for very different reasons I won't discuss here.
I would have to put Canadian Music Hall of Famer Gordon Lightfoot's passing yesterday close to that as well. He was arguably the greatest storyteller to ever carry a guitar, a prolifiic songwriter with the husky voice of an angel. He was absolutelyl brilliant, and I am not exagerationg when I call him a Canadian treasure. He was the pride of Orillia, Ontario
The folk music generation has lost their voice with his passing. Canada has lost a piece of itself with his passing. His career was long - he performed at a teenager in the 1950. He was there when Bob Dylan (a mentor of his) went electric at the 1965 Newport Jazz Festival. He was still touring in 2012.
I had been saving this song for #MapleLeafMarch next year, but is served well at this time. It was a top 10 hit for Lightfoot in the US and Canada in 1974, and immediately followed "Sundown" as a single release. The title came to Gord first - he was driving on an Arizona highway (and almost left the title in the glove box of a rental car!), and the rest came months later.
The beautifully written song is about a man who is driving and remembering a long-past relationship with a woman named Ann - who was real. Ann was a woman Lightfoot had a relationship with several years before this song - and remembering the time pleasantly, and how she's doing, as you do.
It remains one of my favorite Gordon Lightfoot songs.
This version of the song is from a 2012 performance in Reno, Nevada. Even well into his 70's, he had that audience enraptured.
Ten years later, in a 2022 performance in Indiana, his voice had lost a little, but his stage presence, well into his 80s, was still there.
This has been one of the weirdest posting weeks I've ever had. So I decided to lean in and really get weird.
In 2006, this was Lily Allen's debut single. On first listen, if you ignore the lyrics, it sounds bubbly and upbeat, but it is decidedly a lyrically angry song - bitter, even. The song is great, biting, and somewhat humourous. It ended up being a huge UK hit and a minor hit worldwide.
That beat you hear is from "Free Soul" by the Soul Brothers.
This is a song that has defined Lily Allen, even if she has grown tired of it at times. She smartly still performs it live, and does it brilliantly, as she did here in a 2019 performance.
The weird part is that its anger was so polarizing, it sparked a response song, by an artist named Example. He used the same Soul Brothers sample as his background. It was almost as equally inventive and nearly as bitter.
Wait, did I say that was weird? No. That's not weird.
What IS weird is that Lily Allen recorded a second version of the song. This version of the song is not in English, but in Simlish. Simlish is the language of the video game The Sims 2, in which Lily Allen was a character. She found it silly, but also, fun. It is kind of fun. But it's also a great way to end what has been a strange blog week.
OK, I know. At this point, we know that Miley Cyrus is Hannah Montana - or, was. I debated billing this post as Miley, and not as her television character. I chose Miley, because she actually performed this song live an awful lot, as Miley (although when she performed it on the show, she was Hannah).
Really, Miley was Hannah Montana, and Hannah Montana was Miley - and, in interviews recently, Miley has expressed a lot of appreciation of Hannah, in getting her to the superstardom she's achieved today..
This was the theme song to that show, and although she doesn't perform it live anymore (and hasn't, as far as I can see, since 2010), it's a part of Miley, and Miley is a part of it. The song was written by Matthew Gerrard and Robbie Nevil.
On a personal note, this was a show my daughters watched. We had the Hannah Montana CD in our car. I heard this song a lot. It brings back positive memories.
There was a second version of the song, partially live, done for a movie to wrap up the series as well.
How the hell did I come to post the theme to the daytime soap opera The Young and The Restless?
Well, if you read yesterday's post, you may have a clue, but it's not directly related. You see, a different Mary J. Blige song - "No More Drama", which happens to be the title track to the album featuring "Family Affair" - heavily samples this song. I was doing some research for a future post, and, well, I stumbled upon the history of this song, which is absolutely wild.
The song did not start off as a soap opera theme song, but rather as incidental music for the 1971 movie Bless the Beasts and Children. Barry De Vorson later extended his little piece of music for use on the soap opera.
Fast forward to 1976. ABC's Wide World of Sports used the song as part of a montage of the gymnastics of Romanian Nadia Comeneci - you know, the first one to bring perfect 10s to the Olympics (in Montreal in 1976) and also six more? She is arguably the best known gymnast of all time, and certainly the best known of her generation.
The voice-over is by famed sportscaster Jim McKay, and it cemented the positive feeling for Comeneci throughout the 1976 Olympic Games.
Well, at this point, everyone was not only hyped up over Nadia Comenci, but also "Nadia's theme", as it came to be known. I, at my very young age, knew her name - it was an effective piece.
De Vorson and Perry Botkin responded by releasing the song as a re-titled single, which became a top ten hit in 1976, five years after its composition and initial recording.
Incidentally, Comeneci never actually performed to the song that ended up bearing her name.... except during a 1997 episode of Touched By An Angel, alongside her husband and fellow gymnast Bart Conner.
This is more typical of her floor execises - this performance from the 1980 Olympics in Moscow that won Comenci her fifth Olympic gold medal (an event in which she only won bronze in Montreal).
When Mary J. Blige was a current hitmaker, I wasn't a fan. I can't tell you exactly why. I just wasn't.
But times change. Tastes change. And I can see the genius that is Mary J.
This song was co-written by a team including Blige and her brother, Bruce Miller, as well as the producer of the track, a Mr. Andre Young, who you may know as Dr. Dre. For those so inclined, the song follows a C♯m–G♯m7–C♯m–G♯m7 chord progression, written by Dre a fair bit before he sent it along to Mary J., who added lyrics. She sings all the vocals on this track, both lead and background.
This song ended up spending six weeks on top of the Billboard Hot 100, becoming Blige's only #1 hit and her biggest hit song by far. It was also a chart-topper worldwide. It was also the first number one song to include the word "hateration".
There are so many great live versions of this song, so I went with this in-studio one from 2005, which features a full band, including background vocalists that aren't Mary J. Blige.
I decided to include one more version - this one with a different backup vocalist who does step to lead for a few seconds.
Sorry, Swifties - she doesn't have the range of Mary J.
You've never heard of these artists, but you know their work.
In 1989, Tim Carleton and Darrick Deel, two high school friends, wrote a song called "Opus Number 1" and recorded it using a Yamaha DX7IIFD and an Alesis Midverb. They composed it because of its specific auditory qualities - the synth, the taps. It was a pleasing sound to these high school kids - Carleton was particually into Yanni, so that was also part of the inspiration. The song is 5 minutes and 38 seconds of abslolute new-age bliss.
They went on to big rock stardom no big rock stardom, but the song was never by either of them.
Both Carleton and Deel went on to become IT professionals in the San Francisco Bay area. Deel worked for a company called Cisco, who were starting to move beyond routers and switches and into the world of IP telephony. Deel happened to be one of the engineers on the project for the first IP phones from Cisco, and knew that the project needed default on-hold music.
He happened to have the perfect song on his phone, and the rest is history.
So, to all the lazy IT professionals who have set up a Cisco phone system and left the default hold music in place - thank you. You have helped to make "Opus Number 1" the most popular on hold music in the world, by far.
This music is so pervasive, it was featured in a Super Bowl commercial for Bud Light this year.
This 2002 single is one of Eminem's most successful and award-winning - the video for the song even won a Grammy. It is the typical boastful song you expect from Marshall Mathers. But there's a few things about this song you don't know.
The song opens with the line "Two trailer park girls go 'round the outside." This is a direct reference to the 1982 single "Buffalo Gals" by Malcolm McLaren, which was an early hip-hop song and a clear influence on Eminem's music. First, it was great that he included a reference to an obscure old-school song that most of the music world had forgotten. Second, because of this, the writers of "Buffalo Gals" - Malcolm McLaren, Trevor Horn, and, believe it or not, Oscar-winning composer and Art of Noise founder Anne Dudley - got a songwriting credit on "Without Me".
The rapid-fire song and comic-inspired video bring the early 2000's pop culture references, from Dick Cheney's heart attack to his mom's lawsuit against him. One that I wanted to highlight was his diss of Moby - specifically, "You can get stomped by Obie", a reference to Obie Trice (his real name), a artist that Eminem signed to his own label and was promoting. This was also a response to Moby's very pointed criticism of Em's lyrics - specifically, Moby called him, "a misogynist, a homophobe, a racist, and an anti-Semite." In the end, there was no personal beef either way.
Anyway, this is one of Eminem's best received and most critically acclaimed songs. Enjoy it.
If you are a fan of K-Pop music and are following the news, you know that ASTRO member Moon Bin was found dead in his home.
I'd love to talk about this song, which is a pretty happy pop song from a group that was together for seven years. This is, as of right now, one of their last singles, released in 2020 and a hit on Korean radio and elsewhere, like so many songs before.
Unfortunately, because of this sad news, I'm not feelin' it. So, let's talk about Moon Bin. Moon Bin started in entertainment as a child actor when he landed a role in the 2009 TV series “Boys Over Flowers.”. His sister, Moon Sua, is also a K-pop artist, a member of the girl band Billlie.
So, try to enjoy the music and remember an artist gone too soon.
Let's just open up with the question you all have.
Who the hell is MC Scat Kat?
Good question.
The answer is that they were Bruce DeShazer (also known as Tony Christian) and Marv Gunn, collectively known as the Wild Pair. MC Scat Kat just played their part in the video. Previously members of Mazerati, this was not the Wild Pair's only hit,
The video was inspired by Gene Kelly, who danced with a cartoon mouse named Jerry (yes, that Jerry) in Anchors Aweigh. Clearly, Paula thought Tom deserved some love. Abdul, a choreographer of dance first, choreographed both her moves and those of the cat, which were animated in what was considered to be a ground-breaking video.
The song hit #1 in the US, her fourth from the Forever Your Girl album, making her the fourth artist to have four number 1 hits from the same album (a feat that would be matched four more times).
The song itself is actually clever. You're fooled by the cat, but the lyrics are pretty smart and mature.
About ten years ago, I got more irrationally angry about a post than I ever had. You see, that day, Scott Colvin posted about the Icona Pop song, "I Love It (I Don't Care)". That song was essentially Icona Pop singing over top the demo track provided to them by the songwriter, a Ms. Charlotte Emma Aitchison of Cambridge, England.
I was going to post that song the next day. Literally. I had a whole post written that took a different take than Scott did. I was going to be highlighting the extra vocals, which belonged to Ms. Aitchison's. And, it probably would have ended at that - I mean, until the unignorable "Fancy", of course. Then again, I might not have been into that song so much if not for what came next.
Instead, Scott's post got me looking into the other music Ms. Aitchison had made, which at the time, was a simgle album and a bunch of mixtapes. The album, True Romance, was on heavy rotation for me for a couple of years. There were a ton of great singles on that album, and I posted about a lot of them. At last count, there were approximately 18 Charli XCX posts on this blog, which doesn't include the ones on the other one.
Somehow, I missed this one, and it's a good thing I did. You see, "I Love It (I Don't Care)" is one of two songs she wrote on a particular day in 2011, based off beats given to her by producer Patrik Berger. The other was a song called "In The Dark", later titled "Dancing In The Dark". You can still here that early demo version. It still exists.
When it made it onto True Romance in its final form, it was called "You're The One". And, somehow, I never talked about what was one of my favorite songs from that album until today. It's a synth-pop goth love song, and it is a gem.
Today, Charli XCX uses a lot of autotune, reportedly because she doesn't like her voice. She seems to have found her sound.
She's wrong about her voice. Here's a performance of this song with just a piano, some drumsticks, and a river in Austin, TX.
I was really just lacking for a blog post for today, and for some reason, I mentioned Nelly Furtado yesterday, and, well, here we are.
This song was released as the lead single from her debut album, Whoa, Nelly! in 2000, and it quickly became a massive commercial successworldwide. Right off the bat, she hits a home run,
The song was written by Furtado herself, and it was produced by Brian West and Gerald Eaton of the duo Track & Field. "I'm Like a Bird" was a departure from the typical pop songs of its time, with its unique blend of acoustic and electronic elements, as well as its introspective lyrics.
"I'm Like a Bird" received widespread critical acclaim upon its release, with many critics praising Furtado's unique voice and her ability to blend various musical genres into a cohesive whole. The song went on to win the Grammy Award for Best Female Pop Vocal Performance in 2002 (the last Canadian to win that award as of this writing, by the way), further cementing Furtado's status as a rising star in the music industry.
The song is an expression of freedom and self-discovery, with Furtado singing about her desire to be free like a bird and to follow her dreams wherever they may lead her. The chorus, with its soaring melody and catchy hook, became an instant classic, and it remains one of Furtado's signature songs to this day.
You're probably wondering why I'm sharing March content in April.
There's two reasons for that. First, I didn't know what to do with this song, which isn't officially released, and I have no songwriting or recording information about this song. I just know this recording, which is amazing, which brings me to the second reason, and that is that the music and the story behind the genesis of this song was far too cool to make you wait 11 months to hear it.
The East Pointers & Vishtèn are bands with a lot of things in common.
They are both folk groups that were originally trios.
They're both from Prince Edward Island and have known each other for decades, since childhood - in fact, The East Pointers recorded their first EP in the living room of two members of Vishtèn - the very same room that the video below was recorded.
And, each has a member that's passed away tragically in the last year or so - each a sibling of another member of the group, and in the case of Vishtèn, also a partner - Pastelle LeBlanc. We spoke about Koady Chiasson last month. Pastelle passed away at age 42 of breast cancer.
Cancer sucks, people.
In the memories of Koady Chaisson and Pastelle LeBlanc, the four surviving members of these two groups got together in Pastelle and Pascal Miousse's living room and made some uplifting, beautiful music.
Will the four of them get together and make a superband? Was this a one-off? No one knows that today except the four people making these beatiful sounds, but I hope the music helped to heal them, at least part-way.
Yes, I have a Vishtèn post queued up for next March. Don't fret.
I don't like lying to my readers, so I'm going to be upfront.
I use Wikipedia for a lot of my research.
And this song, by Wikipedia, is described as "a retro-futuristic dance-pop and disco-funk song with elements of house and 1980s music that is set to a Europop beat." Which, really, is a pretty accurate description.
Here's something else WIkipedia taught me. The song was written by Dua Lipa, Melissa Webb, Andrew Wotman, Ali Tamposi, Stefan Johnson, Jordan K. Johnson..... Andrew Farriss? Michael Hutchence? How did Dua Lipa collaborate with someone who died when she was 2?
It turns out that the songwriting team - minus Farris and Hutchence -wrote this song feverishly, and immediately recorded and produced it. Then, they all played it back, and once they heard the bassline from "Need You Tonight" clearly, they knew what they had to do - credit the songwriters and give INXS a publishing credit.
Which Andrew Farriss very much appreciated.
But, despite the obvious influence, this song isn't "Need You Tonight". It IS a bold song about a woman questioning her choices in men, and it is a poppy gem. Surprisingly, despite being one of her best known songs worldwide - topping charts worldwide - it didn't quite crack the Top 10 in the states.
