Have you ever listened to a song and realized you had never really paid attention to the lyrics? This goes beyond simply mishearing the lyrics. Who hasn’t sung the wrong lyrics from time to time, right? This involves not truly understanding what the song is about. That’s how you end up singing something inappropriate at a bar mitzvah.

Here are some songs from musicals that will make you say “”Wait, THAT’S what that is about?”

Related: Top 10 Broadway Musicals You’ve Never Heard Of

10 “Edelweiss”–The Sound of Music

When The Sound of Music premiered on Broadway in 1959, the world instantly fell in love with Maria and the singing von Trapp kids. Nearly every song has entered the American vernacular—the titular opening, “Do Re Mi,” “So Long, Farewell,” and one kid-free tune: “Edelweiss.”

“Edelweiss” comes at a turning point in the show. Captain von Trapp has previously disapproved of his childrens’ singing, but when he hears his daughter playing the song, he’s moved. “Edelweiss” is meant to represent the Captain’s home country of Austria, as the edelweiss is a small white flower found in the Alps.

Over the years, rumors have spread that “Edelweiss” is an old Austrian folk tune or even the country’s national anthem. But Oscar Hammerstein II biographer Hugh Fordin says that even though “Edelweiss” was widely believed to be an old Austrian song, Hammerstein composed it for The Sound of Music.^[1]

9 “With You”–Pippin

From weddings to proposals, “With You” from Pippin has been used for years as a profession of love. On the surface, the lyrics do seem to point to a beautiful ballad meant for a loved one. Pippin claims his life would be “Twice as fair” if he could share his days with his girlfriend.

Except he’s not singing the song to his girlfriend. The scene is actually a huge orgy—Pippin weaves through women, comedically singing about “you” to dozens of women. The lyrics are meant to be humorously ironic, highlighting Pippin’s lack of commitment and genuine affection.

So unless you’re in an open marriage, probably leave this one out of the wedding reception.^[2]

8 “All You Wanna Do”–Six

There are thousands of songs with dark messages that are overlooked as such due to their poppy tempos or catchy refrains. Think about “Pumped Up Kicks” by Foster the People, which is actually about a school shooter. Or “Hey Ya” by Outkast, which, despite its upbeat meter, is about how love never really lasts.

In 2020, “All You Wanna Do” from Six the musical went viral on TikTok. Six tells the story of the six wives of Henry XIII from their point of view. “All You Wanna Do” is sung by Katherine Howard, Henry’s fifth wife, and details the history of how they met. On TikTok, people danced to the groovy title lyrics as Katherine talks about how all men want to do is have sex with her. This is already kind of sad. But if you listen to the whole song and not just the danceable parts, it gets even darker.

Katherine relays her first romance with her tutor: “He was 23 / And I was 13 going on 30!” And it doesn’t get better from there. As Katherine sings about her past boyfriends, the song ends with, “All you wanna do, baby / Is touch me, when will enough be enough?”

I’m not sure the kids on TikTok can really relate to that on a personal level. At least, I hope not.^[3]

7 “Not While I’m Around”–Sweeney Todd

“Nothing’s gonna hurt you / Not while I’m around” are the opening lyrics of this song from Sweeney Todd. Young Toby is held by his surrogate mother, Mrs. Lovett, as he protectively lets her know that he will do whatever it takes to shelter her from harm.

Sounds sweet, right? Not really. Lurking in the background of the show is Sweeney Todd, the murderous barber. Toby doesn’t know it, but at the moment, Sweeney is on a rampage, ready to kill anyone in his path (Spoiler alert: including Mrs. Lovett and Toby. And himself.) The song is meant to be ironic and sad, showing Toby’s innocence in contrast to literally every single other character’s murderous rages.^[4]

6 “Hope”–Groundhog Day

While this song may not be as popular outside of the theater community as other songs on this list, it’s the perfect example of a song that is significant only within the show itself.

Based on the Bill Murray movie of the same name, Groundhog Day follows jaded reporter Phil as he is forced to relive February 2nd over and over and over again. Both the movie and musical are humorous but have darker themes lying beneath them. One of the most jarring parts of the plot is after Phil decides he is done sleeping around, eating whatever he wants, and generally being a menace with no repercussions. Instead, he opts to kill himself.

It doesn’t work. He wakes up the next day and tries to kill himself again. In the musical, this happens during the song “Hope.” With lyrics like “Never give up hope / Never let yourself be defeated,” it’s easy to read this as an optimistic anthem. In reality, each chorus of the song shows Phil finding a new way to commit suicide, from dropping a toaster in the bathtub to jumping off a building.

The song ends with “Hold on to your faith / You may wanna live / But baby don’t give up hope,” revealing Phil’s true meaning was to keep hoping one day the suicide will work.^[5]

5 “You Will Be Found”–Dear Evan Hansen

“Have you ever felt like nobody was there?” is the opening line of this song from the musical Dear Evan Hansen.

Apparently, a lot of Christians feel that way because as soon as Dear Evan Hansen premiered on Broadway in 2016, “You Will Be Found” became an instant religious classic. The song skyrocketed from theater kids’ playlists right into public thanks to performances from Brigham Young University’s acapella group and other religious congregations.

The message of “You Will Be Found” is right there in the title. “Even when the dark comes crashing through, when you need someone to carry you,” main character Evan Hansen sings an uplifting tune. Or is he?

The person Evan is singing about isn’t himself, but a boy named Connor who recently killed himself. Evan wishes that everyone could be found, but Connor never had someone care about him the way Evan describes. It’s a heartbreaking lament about suicide, not a cheery little ditty to sing at church.^[6]

4 “What I Did for Love”–A Chorus Line

One of the most influential Broadway musicals of all time (and the seventh-longest-running Broadway show ever), A Chorus Line is noted for its lack of plot. The show consists of a chorus line of dancers telling their stories to a casting director, each one hoping to be hired. Through song, monologue, and dance, each performer is given a moment to shine.

“What I Did For Love” has become a part of popular culture thanks to artists like Bing Crosby, Aretha Franklin, and Josh Groban recording the song for albums. Out of context, the song sounds sweet: “As we travel on / Love’s what we’ll remember.” But the refrain “I can’t regret / What I did for love” doesn’t refer to a person; rather, it’s meant to convey the performer’s passion for dance and her reaction if she could never dance again.

It’s a song of intense suffering as the dancer recalls how she has poured her entire life and career into something that could be taken from her at any time. Some have even interpreted the song’s lyrics to be referencing the casting couch, a euphemism for performing sexual acts in exchange for a job. This was especially rampant in the 1970s when the show premiered.

Either way—it’s not about romantic love.^[7]

3 “My Favorite Things”–The Sound of Music

Okay, this song is pretty straightforward. So why is it on this list? Well, people not very familiar with musical theater have probably still heard this song on the radio in December. For some reason, “My Favorite Things” has become associated with the holiday season. Anyone listening to the lyrics “Warm woolen mittens / Brown paper packages tied up with strings” and mention of sleigh bells might assume that within the show, it’s Christmas morning or Eve.

In reality, this isn’t the case. “My Favorite Things” is sung by governess Maria to her children after they are frightened by a thunderstorm. It’s a sweet song that has gained international acclaim, but it has nothing to do with winter or Christmas.^[8]

2 “Everything’s Coming Up Roses”–Gypsy

This song has been referenced in everything from The Simpsons to The Muppets” but rarely with the original intent of the song.

The main character of the musical Gypsy is a stage mother who, halfway through the show, learns her talented youngest daughter has eloped. In a fit of rage and mania, she sings “Everything’s Coming Up Roses” to express her desire to have her older daughter, Louise, become a star instead. The title and refrain are a pun on the stage mother’s name, Rose. Thus, “roses” represent rose flowers and happiness, but also herself. Everything will come up Rose’s way.

Despite the big, brass notes and fun lyrics, the song isn’t triumphant or as happy as it seems. Ethel Merman biographer Brian Kellow says that the song is often misunderstood, as it’s meant to be a “chilling illustration of blind ambition with megalomania.”^[9]

1 “Cabaret”–Cabaret

The titular song of this tour-de-force of a show is quite famous thanks to stars like Ella Fitzgerald, Bing Crosby, and Judi Dench’s recorded renditions. Within the show, the song is sung by Sally Bowles, a pregnant former cabaret star. Out of context, the lyrics seem to be praising the joys of humanity: “Life is a cabaret old chum, come to the cabaret!”

The song has been used in movies and TV shows for years, usually as a delightful little ditty. But that’s not what the song is about. Sally isn’t happy at all—she’s coming to terms with the rise of Nazism in her home city of Berlin. Rather than addressing the emerging politics of the 1930s, she makes a vow to live her life in ignorance, having fun wherever she can. This includes making sure she’s unattached to her baby’s father, so the song ends with her deciding to get an abortion. In some stagings, such as the most recent Broadway revival, this is depicted through Sally punching herself in the stomach multiple times.

Unsurprisingly, the Louis Armstrong version of the song chose to leave those lyrics out.^[10]

It isn’t often that Broadway and pop culture meet. How many regular people do you know who can name three musicals on Broadway right now?

But these songs did the impossible. Thanks to great lyrics, catchy tunes, and some famous covers (mostly by Frank Sinatra), here are ten iconic songs most people don’t know started as show tunes.

Related: Top 10 Broadway Flops That Actually Aren’t That Bad

10 “We Need a Little Christmas”—Mame

One of the multiple Christmas songs you may not have known is from musicals, “We Need a Little Christmas,” takes the cake for most surprising. Sure, not everyone knows that “White Christmas” is from the Broadway musical of the same name, but even less know that “We Need a Little Christmas” actually originated with the Jerry Herman musical Mame.

Within the show, the song is sung when Mame Dennis, a New York City sophisticate, learns that her fortune has been lost in the Wall Street Crash of 1929. She sings to her nephew that they “need a little Christmas” in order to cheer up from the depressing thoughts of their next few years.

Now, it may be sung about needing to cheer up from holiday family parties with the in-laws.^[1]

9 “You’ll Never Walk Alone”—Carousel

One of Rodgers and Hammerstein’s most controversial shows, Carousel is a sweeping epic love story between carousel barker Billy and mill worker Julie. “You’ll Never Walk Alone” is sung by Julie’s best friend, Nettie, after Julie learns her husband has killed himself. Despite this sad background, it is an uplifting tune about friendship and love that has exploded out of the musical theater world and into football games.

Liverpool Football Club adopted the song as its anthem after the success of a 1963 recording by local Liverpool group Gerry and the Pacemakers. The song’s title is the club motto and is even included on their coat of arms.

Since then, the song has become almost spiritual, with Elvis Presley recording a gospel version in 1967, which was used in support of COVID-19 doctors and nurses in 2020.^[2]

8 “My Funny Valentine”—Babes in Arms

No, Frank Sinatra didn’t write this song, though he certainly did popularize it.

Richard Rodgers and Lorenz Hart wrote “My Funny Valentine” for their 1937 musical Babes in Arms, a coming-of-age story about a group of teenagers who must put on a show to avoid being sent to a work farm (don’t question it, it was the ’30s.)

Though the lyrics seem clever on their own, as the singer (within the show, a girl named Billie) mocks their love’s bad looks but lets them know they shouldn’t “Change a hair for me / Not if you care for me,” affirming their true affection. As an added little bonus for those who know the show, Billie is singing to her crush, Valentine. That’s right, the song isn’t about Valentine’s Day, but an actual person with that name!

While other artists such as Harpo Marx, Elvis Costello, and Miles Davis have recorded the song, it was Sinatra’s version in 1955 that pushed “My Funny Valentine” into the public consciousness.^[3]

7 “I Feel Pretty”—West Side Story

Even though West Side Story is one of those musicals everyone seems to know, anyone who hasn’t actually sat down and seen the show or watched the movie may be surprised to learn that the classic little ditty “I Feel Pretty” is from the modern adaptation of Romeo and Juliet.

From Sesame Street to Friends, the song has been featured or parodied in media for years, to the point where many people don’t know it originated with West Side Story. The simple lyrics “I feel pretty / Oh so pretty / I feel pretty and witty and bright” are enjoyable even out of the context of the show and are a popular choice for talent shows or choirs.

Composer Stephen Sondheim has said that “I Feel Pretty” is actually his least favorite of all the songs he’s written. According to him, not only does the song disrupt the dramatic momentum of the show, but he’s criticized himself for including lyrics that sound good but are not necessarily words that a young woman learning English would know.^[4]

6 “Edelweiss”—The Sound of Music

Most people have seen the classic 1965 movie musical The Sound of Music. But for those who haven’t, it may come as a shock to hear that the sweet song “Edelweiss” is from this Rogers and Hammerstein show.

In the context of the show, “Edelweiss” is sung by Captain von Trapp as a sentimental goodbye to his homeland of Austria, as he is being forced out by the impending Nazis. “Edelweiss” is a simple but sweet tune that does such a good job of sounding like an old Austrian folk song many people actually believe it is. There are even rumors that the song used to be the national anthem of Austria. This isn’t true. The song was written over 10 years after the end of World War II, and while the edelweiss flower is still a symbol of Austria, it’s only thanks to the musical.^[5]

5 “The Lady Is a Tramp”—Babes in Arms

This is the second song on this list to come from the 1937 musical Babes in Arms. Arguably even more famous than “My Funny Valentine,” “The Lady Is a Tramp” was made famous by Frank Sinatra’s recording in the 1950s.

The song inspired the title of Walt Disney’s The Lady and the Tramp and has been parodied by the Spice Girls, Glee, Star Trek, and more. It recently regained popularity thanks to Tony Bennett and Lady Gaga’s duet version in 2011, which topped charts in the UK and Japan.^[6]

4 “Total Eclipse of the Heart”

Okay, this one isn’t from a musical, but it was originally written for one.

Much has been said about the history of Bonnie Tyler’s “Total Eclipse of the Heart.” Most famous, Meat Loaf openly complained that composer Jim Steinman had originally written the song for him, not Tyler. Steinman had previously written for Meat Loaf’s breakout hit album Bat Out of Hell, to great success. However, newfound fame did not treat Meat Loaf well, and Steinman was allegedly advised to leave Meat Loaf and find a new singer to write for.

So Steinman paired up with Welsh singer Bonnie Tyler, reusing one of his old songs that was meant for a musical version of Nosferatu. Though ultimately the musical never materialized, “Total Eclipse of the Heart” was originally meant to be a vampire love song. Steinman says, “If anyone listens to the lyrics, they’re really like vampire lines. It’s all about the darkness, the power of darkness, and love’s place in the dark.”

According to Tyler, that’s why the music video is shot in a gothic former asylum. They were trying to keep creepy vampire vibes within the song, even though it was no longer part of a larger plot.^[7]

3 “One Night in Bangkok”—Chess

“One Night in Bangkok” is particularly interesting because it really doesn’t work or make sense outside of the context of the show. But somehow, it still became a hit, even though the show didn’t.

Chess the musical started in 1984 as a concept album by Tim Rice and ABBA composers Benny Andersson and Bjorn Ulvaeus. The plot revolves around a chess game during the Cold War, with a Soviet on one side and an American on the other. Unfortunately, when the show transferred to Broadway in 1988, it was a financial flop, losing $6.6 million.

However, one song broke through to the mainstream. “One Night in Bangkok” is a testament to the Thai city’s reputation as the place to be for nightlife and adventure (and chess). While the choruses describe Bangkok as exciting and inspiring, the Americans in the show claim the city is “muddy” and less interesting than a game of chess.

In a turn of events no one could have predicted, the single version of the song topped the charts in countries around the world, including South Africa, The Netherlands, Australia, and the United States. Interestingly, “One Night in Bangkok” is banned in Thailand itself, as it is deemed to “cause misunderstanding about Thai society and show disrespect towards Buddhism.”^[8]

2 “Send in the Clowns”—A Little Night Music

Often hailed as one of the saddest songs ever written, “Send in the Clowns” is a heartbreaking admission of being defeated by life. “Isn’t it rich / Aren’t we a pair” kicks off the number, which comes directly after the main character, Desiree, is rejected by the man who chased her throughout her youth. Now that she’s ready to settle down, her ex is already married with a child.

The forced joviality in the lyrics is part of what makes it so devastating. With everything lost, Desiree has to laugh at her folly and stupidity. If only she would have realized what she wanted years ago, back when she had the opportunity.

The clowns in the title and chorus do not refer to literal clowns. Composer Stephen Sondheim says that he meant it to be a theater reference meaning, “‘If the show isn’t going well, let’s send in the clowns’; in other words, ‘let’s do the jokes.’” Desiree asks where the clowns are now that everything has gone wrong. It ends with the line “Don’t bother / They’re here,” as Desiree and her ex have been the clowns the whole time for not seizing the moment when they had it.

The lyrics aren’t so specific that they only apply to the context of the show. Judy Collins’s recorded version hit the Billboard Top 100 for 11 weeks, and Frank Sinatra added it to his 1973 album Ol’ Blue Eyes Is Back. Since then, it has been used in media across the world, perhaps most famously in the 2019 blockbuster film Joker.^[9]

1 “Til There Was You”—The Music Man

Written by Meredith Willson for the 1957 musical The Music Man, “Til There Was You” skyrocketed to the public’s eye thanks to a chart-topping cover by The Beatles.

If you didn’t know that this tune was from a musical, don’t feel bad: Neither did Paul McCartney for a while. He grew up with the Peggy Lee cover of the song and has said that he had “no idea until much later” that it was from The Music Man, sung as a love ballad by the main character Marion. The Beatles’ recording helped cement the band as one that could appeal to all ages and genres, not just young girls.

Willson’s wife has said that the estate has received more money from The Beatles cover royalties than they have from the actual show itself!^[10]

Every song arises from a unique inspiration. Some are instant classics, while others find unexpected success or must overcome critics to reach an audience. Whether the song was written by someone else or the singer themselves, the inspiration is usually something personal. And many of us seek to learn what inspired the lyrics to some of our favorite songs.

Each of these ten songs has a story as distinctive as its tune.

Related: 10 James Bond Theme Songs That Never Were

10 “Over the Rainbow”

MGM executives initially cut “Over the Rainbow” from The Wizard of Oz (1939) because they felt the opening Kansas scenes made the film too long and the song’s themes were too complex for its target audience: children. They also didn’t like Judy Garland singing in a barnyard. Generations of moviegoers can thank associate producer Arthur Freed for telling studio head Louis B. Mayer, “The song stays—or I go.” Mayer backed down, saying, “Let the boys have the damn song. Put it back in the picture. It can’t hurt.”

The melody came to composer Harold Arlen while driving down Sunset Boulevard. Later, when he and lyricist E.Y. Harburg were stuck for an ending, Ira Gershwin suggested the line, “Why, oh, why can’t I?” Why a question? Gershwin later explained, “Well, it was getting to be a long evening.”

“Over the Rainbow” won an Academy Award for Best Music, Original Song and became Garland’s signature number. Today, it tops the American Film Institute’s list of the 100 Greatest American Movie Music and was voted Song of the Century in 2000 by the National Endowment for the Arts.^[1]

9 “As Time Goes By”

Honored as #2 on AFI’s movie music list, “As Time Goes By” could have ended on the cutting room floor as well, despite its established popularity. Herman Hupfeld wrote it for a 1931 Broadway play, and Murray Burnett and Joan Alison featured it again in their 1940 anti-Nazi play Everybody Comes to Rick’s. Shortly after the bombing of Pearl Harbor, Warner Bros. bought the rights to that play for the movie Casablanca (1942).

Filming was already completed when composer Max Steiner asked to replace “As Time Goes By” with a composition of his own that would earn him royalties. Producer Hal Wallis refused for his own financial reasons: Ilsa’s “Play it, Sam” scene could not be reshot because Ingrid Bergman was away on location and had cut her hair short for her next film, For Whom the Bell Tolls (1943).

Drummer Dooley Wilson did his own singing but faked Sam’s piano playing to match the live, off-camera performance of Jean-Vincent Plummer. When a musician’s strike prevented Wilson from recording a single in time for the film’s release, the studio re-issued Rudy Vallee’s 1931 version, which was again a hit. Steiner’s score was nominated for an Oscar, but the film’s unforgettable musical highlight was ineligible because it had not been composed directly for the screen.^[2]

8 “White Christmas”

As much as “White Christmas” resonated with the longing of American GIs and their loved ones during World War II, its own backstory is equally poignant. The song’s inspiration dates back to December 1937, when composer Irving Berlin, a Russian-born Jewish immigrant, was in Hollywood scoring films for 20th Century Fox while his wife, a devout Catholic, was home in New York City. Their separation over the holidays was particularly hard for Berlin because he was unable to accompany his wife on their annual visit to the grave of the couple’s infant son, who had died on Christmas Day in 1928.

Berlin tapped his personal pain to craft a secular holiday classic that touched anyone yearning for days that are “merry and bright.” Bing Crosby introduced “White Christmas” on a radio broadcast of the Kraft Music Hall on December 25, 1941. This Oscar-winning hit became the anchor of the movie Holiday Inn (1942) and inspired its own story in White Christmas (1954).^[3]

7 “Have Yourself a Merry Little Christmas”

“Have Yourself a Merry Little Christmas” demonstrates the value of a good rewrite. For the MGM musical Meet Me in St. Louis (1944), the team of Hugh Martin and Ralph Blane needed a song for Judy Garland’s character to comfort her little sister, played by Margaret O’Brien. According to Martin, he had a melody he liked but could not make it work, “so I played with it for two or three days and then threw it in the wastebasket.” Blane retrieved it and later recalled, “Thank the Lord we found it.”

But the song still needed serious help. The original lyrics began, “Have yourself a merry little Christmas. It may be your last. Next year, we may all be living in the past.” The verse became gloomier still. Garland protested, “‘If I sing that, little Margaret will cry, and they’ll think I’m a monster.” The revision used in the film struck a perfect balance between wistful and hopeful.

Garland’s single was a hit, and the song would be covered repeatedly, including by Frank Sinatra in 1947. For a second release ten years later, Sinatra asked the composers to make yet another change, saying, “The name of my album is A Jolly Christmas. Do you think you could jolly up that line for me?” So, in the Sinatra version, “From now on, we’ll have to muddle through somehow” became “Hang a shining star upon the highest bough.”^[4]

6 “Moon River”

Henry Mancini composed this haunting ballad for Breakfast at Tiffany’s (1961) with Audrey Hepburn’s limited vocal range in mind. Its simple, one-octave tune in the key of C was titled “Blue River” until lyricist Johnny Mercer recalled an earlier song by that name. To preserve the rhythm, he swapped “moon” for “blue,” both one-syllable words with the same vowel sound.

After a preview screening of the film, a Paramount studio executive reportedly said, “I love the picture, fellas, but the f***ing song has to go.” To which Hepburn replied, “Over my dead body!” The song stayed, won an Oscar, and today ranks #4 on the AFI list. Of its hundreds of covers, Hepburn’s version remained Mancini’s favorite.^[5]

5 Theme from Star Trek

In 1953, Gene Roddenberry left his job with the Los Angeles Police Department to become a freelance TV writer. He sold scripts to shows including Highway Patrol, Dr. Kildare, and Have Gun, Will Travel before developing his own project, Star Trek (1966–1969). He also wrote words to the series’ theme song that were never intended to be sung.

Seven weeks after composer Alexander Courage sent an instrumental version of the theme to the Library of Congress, Roddenberry submitted a second score with his own sappy lyrics handwritten underneath the notes. By exploiting a clause buried in the composer’s contract, Roddenberry guaranteed himself 50% of the royalties whenever the theme was used, even as an instrumental. Outraged at having his own payoff cut in half, Courage never worked on the show again as long as Roddenberry remained its executive producer.

In the book Inside Star Trek, Roddenberry is quoted as admitting that he thought at the time, “I have to get money somewhere. I’m sure not going to get it out of the profits of Star Trek.” He had no way of knowing at the time that Star Trek and its theme would live on for generations in syndication and movie adaptations.^[6]

4 “People”

Composer Jule Styne and lyricist Bob Merrill wrote more than fifty songs during the development of a Broadway musical about comedian Fanny Brice to be called A Very Special Person. Their first try at a title song evolved into “People,” and the show became Funny Girl. Styne wanted the little-known Barbra Streisand for the lead, even though she was not the star the producers had in mind. Looking back in 1977, Styne explained, “I wondered how I was going to get this little girl who was singing down in the Village in the show when they already had Anne Bancroft. So I wrote the toughest score. Only Barbra could sing it.” After Bancroft heard the music, she agreed.

During out-of-town tryouts, then-director Garson Kanin thought “People” wasn’t right for the character or the moment and wanted it cut. Then, Columbia’s release of it as a promotional single in January 1964 gave Streisand her first Top 40 hit. Before Funny Girl’s triumphant Broadway debut two months later, other songs and directors would come and go, but “People” remained and became a showstopper.^[7]

3 “Sympathy for the Devil”

The Rolling Stones’ 1968 album Beggars Banquet opens with “Sympathy for the Devil,” a blazing catalog of humankind’s record of inhumanity. Mick Jagger wrote both the words and music, inspired by a Soviet-era satirical novel and the political and social turmoil of the 1960s. As he stated in its music video, he had to “figure out if it was a samba or a goddam folk song.” Over the course of thirty takes, the tempo increased, African percussion instruments were added, and Keith Richards introduced the driving rhythm.

During the album’s recording session in the summer of 1968, a more historically significant change occurred. Jagger’s original version had the line, “I shouted out, ‘Who killed Kennedy?’” After Senator Robert F. Kennedy was also assassinated on June 6, Jagger magnified the song’s power by updating “Kennedy” to the plural.

At least as far back as 2006, the Stones dropped the entire “Kennedys” verse at a benefit concert for Bill Clinton’s 60th birthday, as captured in Martin Scorsese’s documentary Shine a Light (2008). When Jagger was asked about the omission after the film’s premiere, he replied coyly, “Did I leave that out? That song is so long, I always cut a verse. I guess it must’ve been that one.” The verse was also missing during the Stones 2024 tour.^[8]

2 “Raindrops Keep Fallin’ on My Head”

When director George Roy Hill wanted a contemporary sound for his offbeat western Butch Cassidy and the Sundance Kid (1969), he hired pop music duo Burt Bacharach and Hal David, known for hits like “Walk on By,” “What the World Needs Now is Love,” and “The Look of Love.” As a guide for scoring the playful Paul Newman-Katharine Ross bicycle sequence, Hill told them he had edited it to Simon and Garfunkel’s bouncy “The Fifty-Ninth Street Bridge Song (Feelin’ Groovy).” Bacharach contributed the tune and the title, saying later, “Even though [lyricist] Hal tried to change it, we never came up with a thing that felt as good.”

After Ray Stevens, best known for comedy songs, declined due to a project conflict, the song was offered to another client of Stevens’ agent, B.J. Thomas. The day the soundtrack was cut, Thomas had just come off tour with a bad case of laryngitis and struggled through five takes. Bacharach found Thomas’s raspy voice to be “authentic,” but studio executives deemed the song “too risky and unconventional.”

Two weeks later, in full voice, Thomas recorded the song for release. The single topped the Billboard Hot 100 chart for four weeks. Bacharach and David took home an Oscar for Best Music, Original Song.^[9]

1 Theme from M*A*S*H

For his dark comedy film M*A*S*H (1970), director Robert Altman insisted that the background song during the fake suicide of despondent dentist “Painless” Waldowski be called “Suicide Is Painless” and that it be the “stupidest song ever written.” Noted movie composer Johnny Mandel recounted later that when he came up empty on the stupid requirement, Altman told him, “All is not lost. I’ve got a fifteen-year-old kid who’s a total idiot.” Young Mike Altman quickly cranked out four verses and a chorus, which Mandel set to music.

Altman liked the melody so much that he used it over the movie’s opening credits as well, and the instrumental version was also featured on the long-running TV series. The song hit #1 on the UK singles chart and was covered by artists as different as Marilyn Manson and the late jazz pianist Ahmad Jamal. During an appearance on The Tonight Show in 1981, the senior Altman told Johnny Carson he had been paid $70,000 to direct the film, but as of that time, his son had earned more than one million dollars for his half of the music royalties.^[10]

Just because a band or artist doesn’t actually exist in real life doesn’t mean they can’t make great music. Films are full of fictional musicians whose songs are sometimes so catchy that they reach the actual charts. Really, this isn’t all that surprising, considering these songs are often penned by successful musicians.

To qualify for this list, not only do the songs have to be written specifically for a movie, but they can’t be performed in the film by someone who has a high-profile career as a musician in real life. So you won’t find “Shallow” from A Star is Born (2018) or “The Climb” from Hannah Montana: The Movie (2009) on this list.

Related: Top Ten Musical Moments from Musical TV Shows

10 “Through the Trees” by Low Shoulder

In Jennifer’s Body (2009), the troubles of the titular character (played by Megan Fox) start when the indie rock band Low Shoulder takes her into the woods and sacrifices her to Satan. The ritual turns Jennifer into a demonic man-eater, but it gives Low Shoulder the success they were chasing, launching their song “Through the Trees” into the limelight.

Amy Driscoll-Dunning—head of Fox Searchlight at the time—suggested Test Your Reflex (now known as Wildling) as a band that could write a song that sounded like Snow Patrol’s “Chasing Cars.” The band’s frontman, Ryan Levine, was given the song’s title and first few lyrics, which were written by the film’s writer, Diablo Cody. Levine added the rest of the lyrics and the riff, with keyboardist Andrew Ampaya adding the piano track and strings.

In the film, Adam Brody plays Low Shoulder’s evil frontman, Nikolai, and he lip-synced to Levine’s vocals. Levine also appears in the film, though, as Low Shoulder’s guitarist, and his bandmate Sal Cortez plays the drummer. The bassist and keyboardist are played by actors Juan Riedinger and Colin Askew.^[1]

9 “Pretend to Be Nice” by Josie and the Pussycats

Although “Sugar, Sugar” (1969) by The Archies is the most famous song released by a fictional band comprised of characters from Archie Comics, that tune wasn’t written for a movie. Many years later, in 2001, Josie and the Pussycats burst onto cinema screens with an entire album of songs.

The band is formed of Riverdale residents Josie McCoy (Rachael Leigh Cook), Melody Valentine (Tara Reid), and Valerie Brown (Rosario Dawson). The three actresses provided backing vocals, but Kay Hanley from Letters to Cleo provided the main vocals for Josie. The tracks were written and produced by a variety of musicians, including Adam Schlesinger from Fountains of Wayne, Jane Wiedlin from The Go-Go’s, and Adam Duritz from Counting Crows.

The band’s first single, “Pretend to Be Nice,” was written by Schlesinger. The song hits No. 1 on the Billboard Hot 100 in the movie, and while that success wasn’t matched in real life, the soundtrack of the movie was pretty popular. Not only did it reach No. 16 on the Billboard 200, but it was also certified gold.^[2]

8 “Nobody Like U” by 4*Town

Pixar’s Turning Red (2022) is set in 2002 and follows 13-year-old Mei as she starts turning into a red panda. But Mei doesn’t let that get in the way of going to a 4*Town concert. The boy band has three songs in the animated film: “1 True Love,” “U Know What’s Up,” and their biggest hit, “Nobody Like U.”

The songs—which mimic the sound of *NSYNC and Backstreet Boys—were written by Billie Eilish and her older brother Finneas O’Connell (who often writes and produces for his sister). The members of the band—Robaire, Jesse, Aaron Z., Aaron T., and Tae Young—are voiced by Jordan Fisher, O’Connell, Josh Levi, Toher Ngo, and Grayson Villanueva.

“Nobody Like U” had a life beyond the movie, peaking at No. 49 on the Hot 100 and even being performed live by some of the voice actors. At the 20th Unforgettable Gala, Levi, Ngo, and Villanueva were joined on stage by Will Jay and Raymond Ortiz—who filled in for the two missing members—to perform “1 True Love” and “Nobody Like U.”^[3]

7 “Garbage Truck” by Sex Bob-Omb

Music is a huge part of Scott Pilgrim vs. the World (2010) due to the titular main character’s (Michael Cera) band, Sex Bob-Omb, competing in a competition to win a record deal. Director Edgar Wright said that he “had this idea that each of the fictional bands within the film should have a different artist doing them. So it was sort of like casting.”

Beck wrote the songs for Sex Bob-Omb, and the actors playing band members had to learn how to sing and play their instruments—aside from Cera, who already knew how to play the bass guitar. Although the opening title track, “We Are Sex Bob-Omb,” won the 2010 Houston Film Critics Society Award for Best Original Song, “Garbage Truck” is the fan favorite (if Spotify numbers are anything to go by).

Other artists who wrote music for the film include Metric, who wrote “Black Sheep” for The Clash at Demonhead, and Dan the Automator, who wrote “Slick” for Matthew Patel (Satya Bhabha).^[4]

6 “Drive It Like You Stole It” by Sing Street

Sing Street (2016) is set in 1985 in Dublin and follows teenage boy Conor (Ferdia Walsh-Peelo) as he starts a band with his classmates. Among Sing Street’s soundtrack of Duran Duran, Hall & Oates, and The Cure are a few songs by the titular fictional band themselves. Although U2—which was formed in Dublin—was originally going to help with crafting Sing Street’s sound, writer and director John Carney said that “our schedules didn’t match up. I think they were on tour, and we were shooting back at home, and it didn’t work out on a timeline.”

Instead, Gary Clark, the frontman of Scottish band Danny Wilson, took on the role, with help from Carney, plus Ken and Carl Papenfus from Relish. The musical peak of the film is the fantasy scene where Sing Street performs “Drive It Like You Stole It” in the style of Back to the Future’s Enchantment Under the Sea dance. Both the San Diego Film Critics Society and the St. Louis Gateway Film Critics Association gave the film awards for its music.^[5]

5 “Fever Dog” by Stillwater

The soundtrack of Almost Famous (2000) features an impressive roster of artists—including Lynyrd Skynyrd, Led Zeppelin, and The Who, plus the fictional band Stillwater. It even won a Grammy for Best Compilation Soundtrack Album for a Motion Picture, Television or Other Visual Media.

Based on the life of writer and director Cameron Crowe, the plot sees a teenage boy with journalistic aspirations follow a rising rock band, Stillwater, on tour in the ’70s. Stillwater’s sound was crafted by a number of musicians, including Nancy Wilson from Heart and Peter Frampton. As well as penning Stillwater’s hit “Fever Dog” with Crowe, Wilson also played rhythm guitar for the group. The guitar skills of Stillwater’s Russell Hammond (Billy Crudup) are actually down to Pearl Jam’s Mike McCready.

Although Stillwater’s success didn’t immediately crossover into the real world, in 2021, the Stillwater Demos EP scored the No. 95 spot on Billboard’s Top Album Sales chart.^[6]

4 “On the Dark Side” by Eddie and the Cruisers

When adapting P.F. Kluge’s 1980 novel Eddie and the Cruisers into a movie, director Martin Davidson knew that he needed to find the right band to write the music. He hired Kenny Vance from Jay and the Americans to help track down a suitable Jersey bar band. Vance came up with the goods, presenting John Cafferty and the Beaver Brown Band, who were reminiscent of Bruce Springsteen and the E Street Band.

Although most of the onscreen band is comprised of actors, the saxophonist of John Cafferty and the Beaver Brown Band, Michael “Tunes” Antunes, was cast in the movie. The main song from the 1983 film, “On the Dark Side,” proved to be a massive hit, reaching No. 7 on the Hot 100, while “Tender Years” made it to No. 31.^[7]

3 “Walk Hard” by Dewey Cox

Walk Hard: The Dewey Cox Story (2007) is a parody of the music biopic genre, but even though it’s a comedy, John C. Reilly (who plays Dewey Cox) said, “We never wanted to lose the listenability of the songs.” The main character and his ever-evolving musical style draw from a huge variety of artists, including Johnny Cash, Ray Charles, and Bob Dylan. 40 songs were recorded, with around 33 of them making it into the final movie.

Dan Bern and Mike Viola wrote many of the songs, but for the titular song, “Walk Hard,” submissions were open, with Marshall Crenshaw’s song being chosen. Reilly not only sang and played guitar on the tracks, but he also received writing credits for a handful of them, including “Walk Hard.” He even performed the songs live on the Cox Across America tour.^[8]

2 “That Thing You Do!” by The Wonders

Back in the mid-1990s, Tom Hanks was looking for a song for his movie That Thing You Do! (1996), which follows a band called The Wonders and their rise to fame in the mid-1960s.

Adam Schlesinger—who a few years later found fame with Fountains of Wayne’s “Stacy’s Mom” (2003)—heard that Hanks and his team were asking for demos that sounded “like an American band that was blown away by The Beatles right after they arrived and was trying to imitate them.” Schlesinger loved ’60s pop and rock, so he wrote a song in a couple of days, recorded it with two friends, and sent it in, describing it as “a shot in the dark.”

Hanks loved the track and hired Schlesinger to co-produce the song, as well as his friend Mike Viola, who sang on the demo, to provide vocals for the finished tune. Although the song didn’t make quite as much noise as it does in the movie, it did reach No. 41 on the Billboard Hot 100.^[9]

1 “Tonight I’m Gonna Rock You Tonight” by Spinal Tap

Perhaps the most famous fictional band is Spinal Tap, who started out on TV, but in 1984, the band starred in This Is Spinal Tap, a mockumentary directed by Rob Reiner. The film follows the band as they embark on a hilariously disastrous tour, with the majority of the dialogue being improvised. The main band members are Michael McKean as David St. Hubbins, Christopher Guest as Nigel Tufnel, and Harry Shearer as Derek Smalls—all of whom wrote and performed the songs themselves.

Spinal Tap has a large discography for a parody band, with some of their most popular songs being “Tonight I’m Gonna Rock You Tonight,” “Stonehenge,” and “Big Bottom.” They’ve also played many live shows, going on tour and even performing at prestigious venues such as Wembley Stadium and the Royal Albert Hall. As for chart success, two of their songs have made it onto the Hot 100: “Break Like the Wind” hit No. 61, and “Back From the Dead” hit No. 52.^[10]

Celebrities, for better or worse, have a tendency to try their hand in the music industry. However, when a celebrity is associated with a certain industry, it can sometimes be hard to place them within the world of music, and sometime it is better not to. But then again there are a few pleasant surprises, though not necessarily for the best of reasons.

See Also: 10 Spectacular Meltdowns That Cost Celebrities Credibility

Whether they started out in music before finding their true calling, or reached a degree of fame and with it gained a sometimes misguided faith in their musical talent, here are ten celebrities who have, surprisingly, released songs.

10 Brie Larson—She Said

Before her now successful career in film, Brie Larson had a short stint at making music. Following minor roles as a child actor, Larson embarked on a career in music, and released one album in 2005 Finally Out Of P. E.

The title of the album is a perfect summary of Larson’s music — bubblegum teen pop, though quite appropriate, because Larson was only sixteen at the time. She Said was the single to come out of the album though commercially it did very little.

Larson came to dislike the music industry due to her own self-written songs being dismissed for songs her record label wanted her to play. Essentially, Larson did not want to be molded into what her label wanted her to be, and left it all behind.^[1]

9 Macaulay Culkin (The Pizza Underground)—Pizza Gal

The premise of Macaulay Culkin’s band “The Pizza Underground” is a strange parody of the Velvet Underground, and Pizza Gal is just one of the bizarre songs Culkin has released.

The Pizza Underground parody many of the Velvet Undergrounds songs interlaced with various pizza-based jokes — yes really. Pizza Gal is a parody of Femme Fatale by the Velvet Underground, and musically is close to the original, but substitutes the original lyrics for pizza related themes.

Culkin called it “one of those good ideas you have when you’re drunk and you wake up and forget about it… but we’re taking it to the end of the joke.” There is a reason those ideas only happen when you are drunk, because they are terrible.^[2]

8 Andy Murray—Autograph

Andy Murray and fellow tennis player Novak Djokovic teamed up with Bryan Bros Band to provide a shining example of why celebrities should sometimes stick to what they are good at, whatever that may be.

In 2009, the collaboration gave us the song Autograph. The song details the inconveniences Andy Murray has to suffer when signing autographs for his eager fans. Autograph is as bad as it sounds.

Murray tries to rap on the song providing us with the lyrics “during Wimbledon it really gets crazy. My hand cramps up and my mind gets hazy” and “I sign and sign, but the line doesn’t end. Wake me up tomorrow, let’s do it again.”

We can all objectively say that Autograph is woeful, and is it really so bad that fans want an autograph? Stick to tennis please.^[3]

7Naomi Campbell—Love and Tears

Somewhat infamous model Naomi Campbell tried her luck in the music industry in an effort to branch out from the world of modeling. In 1994, Campbell released the appropriately named album Baby Woman, and Love and Tears was the single from the album.

Surprisingly Love and Tears is not as bad as would be expected from a model turned singer, but still proved that Campbell did not have much prospect in making music, as it was her first and last single and album.

Baby Woman was poorly received by critics and was commercially unsuccessful except in Japan.^[4]

6Frankie Muniz (Kingsfoil)—What Your Mother Taught You

Star of Malcolm in the Middle, Frankie Muniz had a brief run with indie pop band Kingsfoil from 2012 to 2014, in which he featured on the single What Your Mother Taught You.

As a longtime fan of the band, Muniz auditioned for Kingsfoil, and they duly accepted him into the group. Kingsfoil sported Muniz on drums for their 2012 album A Beating Heart is a Bleeding Heart, from which, What Your Mother Taught You came. Kingsfoil are not the first band to feature Muniz in their lineup as he also played in the group You Hang Up before joining Kingsfoil.

The song is your typical indie pop song, and the band is not too dissimilar to Coldplay. However, Muniz left the group in 2014 due to scheduling conflicts with filming of Hot Bath an’ a Stiff Drink 2.^[5]

5 Steven Seagal—My God

Martial artist and renowned tough guy actor Steven Seagal delved into the world of music with his debut album Songs from the Crystal Cave in 2004, from which My God was born.

Although Steven Seagal is a relatively accomplished guitarist, My God proves that if you have a certain degree of fame and fortune, and have the ability to roundhouse kick people in the face, nobody can stop you from releasing music.

My God is a strange dancehall-esque track that upbraids the concept of religion in the most infantile of ways. Seagal makes an attempt at irony in his lyrics like “Why do you force your will with a gun, let’s start another holy war” topped off with the chorus line “My God is better than your God, My God is bigger than yours.” The lyrics just come off as laughable rather than in any way spiritual especially coming from Steven Seagal.

Unbelievably, Seagal actually managed to get Stevie Wonder to play harmonica on the song, though even Stevie Wonder could not save the song.^[6]

4 Clint Eastwood—Bar Room Buddies

Bar Room Buddies was recorded by Merle Haggard and Clint Eastwood for the 1980 film Bronco Billy. (LINK 11). However, the song was released as a single in the same year, and was incredibly successful in the world of country music, reaching number one in the Billboard’s Hot Country Songs chart.

Country music legend Merle Haggard carries the enchantingly strange duo whilst Eastwood tries to sing, but mostly fails to break away from his inimitable gravelly voice. The song details the two “Old chug-a-lug-a-lugging” bar room buddies’ drunken exploits.

Bar Room Buddies is a little slice of lighthearted nonsense but still quite fun, and the song actually stayed in the country charts for thirteen weeks.^[7]

3Val Kilmer—Frontier Justice

Having convincingly sang as Jim Morrison in the 1991 biopic The Doors, and having learned to play guitar for the film Top Secret, Kilmer took his musical credentials one-step further when he released the album Val Kilmer: Sessions With Mick in 2007.

He teamed up with friend Mick Rossi to write a series of songs for the album. The song Frontier Justice is a bluesy number in which the protagonist accounts his gunning down of his lover’s lover. It is eerie but well produced, and Kilmer actually has a decent singing voice.

Frontier Justice was released on Kilmer’s MySpace music blog before the full Val Kilmer: Sessions with Mick was self released on his website.^[8]

2 Ricky Gervais (Seona Dancing)—More To Lose

Seona Dancing were a short-lived ’80s new wave duo fronted by none other than comedian and actor Ricky Gervais. The duo was stereotypically ’80s new wave — big hair, makeup and no small amount of androgyny.

Sounding like a low-rent ’80s David Bowie, More to Lose proved that music was not Ricky Gervais’ calling. The song fails to rise above the dreary clichés ’80s new wave churned out; it is forgettable yet unforgettable to see Gervais fully clad in his new wave attire, which raises the question: what happened?

Seona Dancing released two mostly unsuccessful singles in the 1980s and disbanded in 1984. More to Lose went on to be quite popular in the Philippines, receiving substantial radio play through the 1980s. Fellow band member Bill Macrae did not reach the fame of Gervais, fading into obscurity after Seona Dancing’s disbandment.^[9]

1 Bruce Willis—Under The Boardwalk

Before John McClane there was Bruno Randolini — Bruce Willis’ soul and R&B singing alter ego, who actually had notable success through the late 1980s.

In 1987, Bruce Willis released his debut album The Return of Bruno complete with a fake documentary about Willis’ musical alter ego. Willis, or Bruno, covered Under the Boardwalk by the Drifters on the album, which was also released as a single. Carried by the Temptations who sang backing vocals, the song struggled commercially in the US, but somehow reached number two in the UK charts.

It is clear from the song that Willis is better suited to playing the rugged cop with a heart of gold on the silver screen than he is to singing because Under the Boardwalk is inescapably cringe-worthy. Willis cannot quite reach those high notes, and for the most part is propped up by his stellar cast of musicians.

Willis went on to record another album If It Don’t Kill You, It Just Makes You Stronger in 1989 before finally submitting to the on-screen Bruce Willis we know and love today.^[10]

Music has the ability to evoke strong emotions. Anthems make you want to sing at the top of your lungs. Love songs make you feel gooey inside and angry femme music can stir feelings of getting revenge on cheating ex-partners. Most good songs have some kind of story that served as inspiration for its lyrics. Some songs are light and bubbly while others are very dark and inspired by even darker and tragic events.

10 Legendary Reasons We Have Music

10 These Are the Days of Our Lives – Queen

On 5 September 1991, Freddie Mercury’s 45th birthday, the song These Are the Days of Our Lives was released in the US. After Mercury’s death on 24 November 1991, the song was released in Ireland and the UK on 9 December.

The song is hailed as the most significant single off Queen’s album, Innuendo, as the video accompanying it shows footage of Mercury while he was still alive. The video was shot in black and white in an attempt to mask the severity of Mercury’s deteriorating health. As the last notes fade and the music video winds to a close, Freddie Mercury says “I still love you” while looking straight at the camera. This would end up being his last words recorded on camera.

The music video was featured during the Freddie Mercury Tribute Concert the following year and was also played at the Concert for Diana on 1 July 2007.^[1]

9 Circus – Eric Clapton

Eric Clapton cowrote Tears in Heaven and dedicated it as a tribute to his 4-year-old son, Conor, who died in a freak accident in 1991. The day before Conor died, he and Eric visited a circus. Eric reminisced during an interview in 1998 that the circus had three rings and wild animals and Conor had been mesmerized by the spectacle.

Eric went on to write the song, Circus, in memory of the last night he got to spend with his son. In the song he mentions a clown Conor found funny, running around with a knife. Apparently Conor couldn’t stop talking about on the way home. He reminisces in the lyrics how excited his son was about the event and the melody expresses his sorrow over losing his only child. Eric played the critically acclaimed song live in 1992 before it was made available on record.^[2]

8 3 AM – Matchbox 20

3 AM by Matchbox 20 is one of those ‘essential 90s’ songs that can be found on compilations and playlists just about anywhere, whether on disc or digital. It was played to death on the radio when first released in 1997.

What most assumed to be just another song about a girl, turned out to have a very dark backstory. Frontman, Rob Thomas, revealed the inspiration behind the song during an interview a few years back. He told Genius.com that the lyrics were inspired by his cancer-stricken mother who he had to care for at the age of 13. He also admitted that their relationship was somewhat fraught, and the words of the song captures the off-balance dynamic they shared. He went on to say that as he looked back on writing the lyrics, he realized he had written a lot about the kind of person he wanted his mother to be.^[3]

7 You learn – Alanis Morrissette

The 90s music scene would not have been complete without a good helping of Alanis Morrissette’s music. Her third studio album, Jagged Little Pill, topped the charts in 13 countries and is one of the best-selling albums of all time. The album won five Grammy awards and even spawned a musical stage production in 2018.

You Learn is one of the most popular songs off the album but the story behind it is not as well-known as its lyrics. Morrissette wrote the song when she was just 19 years old and alluded to terrible experiences in L.A which included being robbed at gunpoint during the time she was working on the album. She was hospitalized and suffered from PTSD. At the same time, she also went through a breakup. She turned the lyrics into a lesson about everything in life equating to experience. Working on the album also helped her work through the trauma of everything she had been through.^[4]

6 Have You Forgotten – Darryl Worley

When 9/11 devastated America, it seemed that the country would never be the same again. Many written pieces about the tragedy saw the light online and many songs were written about it as well. For Darryl Worley and Wynn Varble, it seemed that their strong sense of loss and patriotism wasn’t shared by others. They sat down and wrote the song “Have You Forgotten” and it became the biggest hit of Darryl Worley’s career.

Worley said during an interview that he came from a military family and he had been exposed to war wounds and loss from an early age. He did a tour in Afghanistan right after the war started and saw thousands of American flags flown in solidarity. Two weeks later the flags were gone. Have You Forgotten’s lyrics were born out of this experience:
“I’ve been there with the soldiers, who’ve gone away to war. And you can bet that they remember just what they’re fighting for.”^[5]

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5 Never Learn Not to Love – The Beach Boys

The Beach Boys are an indelible part of the music industry. What some may not know, however, is that the late Dennis Wilson, co-founder and drummer, had a strange, if short-lived friendship with cult leader, Charles Manson.

Manson even lived in Wilson’s house for a while, before he and his cult committed several murders. The Beach Boys released Never Learn Not to Love as the B-side on their Bluebirds over the Mountain single in 1968 and it was revealed afterwards that the song was an altered version of lyrics and music written by Charles Manson, originally titled “Cease to Exist”. Manson gave up his credit on the song for a motorcycle and money but was highly irate when he found out his original lyrics had been changed. A year after the song was released, Manson and his cult committed the highly publicized Tate-LaBianca murders for which he was originally sentenced to death.^[6]

4 Cassie—Flyleaf

On 20 April 1999, Eric Harris and Dylan Klebold murdered 12 of their fellow students and 1 teacher at Columbine High School. They then proceeded to commit suicide. One of the murdered students, Cassie René Bernal, was shot in the head by Eric Harris, allegedly after he asked her whether she believed in God and she answered ‘yes’.

This scenario, which has led to a lot of controversy because many saw Bernall as a Christian martyr, has also served as the inspiration for several songs, including ‘Cassie’ by Flyleaf. Flyleaf is an American Christian rock-metal band and they wrote the song to commemorate Cassie Bernall’s life and ‘martyr’s’ death. The lyrics to the song include: “All heads are bowed in silence, to remember her last sentence. She answered him knowing what would happen, her last words still hanging in the air.”^[7]

3 Zombie – The Cranberries

Zombie is arguably the most popular song that The Cranberries ever released. While it seemed like just an awesome anthem at the time, it soon became clear that there was a much deeper meaning behind it. The late Dolores O’Riordan not only left behind the sweet sounds of Linger and Dreams, she also belted out Zombie in protest against the violence in Northern Ireland which saw two children killed by bombs in Warrington City and dozens more people injured. The children, 3-year-old Johnathan Ball and 12-year-old Tim Parry, had been shopping for Mother’s Day cards in town when the bombs went off.

Speaking about the song’s 1994 release, O’Riordan remembered the bombs and hearing about the children’s deaths while in the UK. She wrote the song between tours and it was released as the lead single from the band’s second studio album, No Need to Argue.^[8]

2 John Wayne Gacy, Jr. – Sufjan Stevens

There is no misinterpreting this song as the title alone tells you all you need to know. With lyrics like “his father was a drinker and his mother cried in bed. Folding young John’s t-shirts when the swingset hit his head”, the song focuses on serial killer John Wayne Gacy’s formative years before escalating to his murderous tendencies.

Gacy was hit in the head by a swing when he was eleven, causing a bloodclot to form in his brain. Some pscyhiatrists believe the accident could have altered his psyche and helped to develop his appetite for murder. Gacy was convicted of thirty-three murders, all young men, and was executed for his crimes on 10 May 1994.^[9]

1 Pretty – KORN

While KORN is well known for writing disturbing lyrics, none of them are quite as disturbing as the ones that make up the song “Pretty”, especially since the lyrics were inspired by an incredibly dark backstory.

Pretty is one of the tracks on Korn’s third studio album, Follow the Leader. Lead singer Jon Davis used to work as an autopsy assistant and recalld an incident during which the body of a baby was brought into the coroner’s office. The baby was an eleven-month old girl who had been raped and beaten to death by her father. Both her legs had been broken and she looked like a discarded toy doll. David went on to say that he had been severely traumatized by what he saw. He was about 18 at the time and had severe nightmares about the incident that continued to haunt him well into his adult life. Pretty was written in remembrance of the baby girl who lost her life in such a senseless manner.^[10]

Top 10 Times Musicians Lost Their Cool Onstage

Music and mythology seem to be many worlds apart. Yet, fascinating stories have emerged to prove that music is an art laced with mysteries. From satanic messages in “Hotel California” to Robert Johnson’s alleged pact with the devil, it seems that urban legends are an inherent part of fame.

Some songs, however, have more horrifying tales to tell. Here are some lesser-known myths hidden in 10 of the most cryptic songs ever written.

10 Famous Urban Legends Come To Life

10 The Forest Ogre
“The Erlking”

In 1782, young German poet Johann Wolfgang von Goethe wrote a ballad that soon launched a terrifying urban legend. Entitled “The Erlking,” the musical piece tells the story of a sinister creature who preys on travelers and children.

Also known as the “King of Alders,” this forest monster is said to be a mistranslation of the original Danish “elf king.” Still, it has remained a haunting reminder of our childhood fears and the dark underworld hiding in the jungles.

Legend has it that a man was riding on a horse with his young son one eerie night. As they passed through the dark corners of the forest, the young boy suddenly heard whispers from the unknown. Terrified, he told his father about the ominous sign. However, the father reassured his child that it was just the wind “rustling with the dead leaves.”

The voice grew louder. But with his father ignoring him, the boy had no other choice. As they finally reached home, the father got the shock of his life. He found his poor son lifeless, with his soul allegedly consumed by the Erlking.^[1]

The story of the malevolent creature soon found its way into different communities and folk legends. In Dartmoor, for instance, a demon huntsman named Dewer is known to kill innocent children, hide them in sacks, and deliver the corpses straight to their parents. Another Erlking-inspired child killer is Ireland’s Tuatha De Danann, an evil creature known for leaving changelings in cradles to replace the poor infant victims.

9 Devil’s Dance
“Asereje” (“The Ketchup Song”)

In 2002, Spanish girl trio Las Ketchup conquered the international music scene with an unexpected hit. The song “Asereje” (“The Ketchup Song”), accompanied by awkward dance steps, became one of the best-selling singles of all time. But not long after it became an overnight sensation, rumors of backmasking and satanic references began to emerge.

It all started when an email message—allegedly from a newspaper in Chihuahua, Mexico—exposed hidden messages behind the song’s lyrics. The controversy focused on two major areas: the title and the song’s lead character named Diego.

If broken down and translated into English, “Asereje” also means “a being of heresy.” On the other hand, the alternative title, “Ketchup,” can be divided into two parts: “Up” (meaning “heaven”), and “chet” (loosely translated as “dung” or “sh–t”).

When combined, the resulting word can mean “heaven is sh–t” or a direct attack on the sky. Backmasking also applies to the rest of the lyrics—allegedly to conceal clues which describe Diego as Satan’s messenger.^[2]

The singers denied the rumors and repeatedly said that the song was based on the 1979 rap hit “Rapper’s Delight” by Sugarhill Gang. Turns out, Asereje is an example of mondegreen, in which a foreign song is reinvented due to a linguistic difference.

However, some international groups didn’t buy these explanations. In Dominican Republic, Mango TV banned all Asereje video clips. Iglesia ni Cristo (INC), an influential Christian sect in the Philippines, followed suit by preventing all its members from listening to the controversial song.

8 Texas Serial Killer
“Possum Kingdom”

Possum Kingdom Lake is a man-made body of water near the Dallas-Fort Worth area. It had remained an uneventful fishing spot until alternative rock band Toadies put a bizarre twist on its name.

In the mid-1990s, the band hit it big with their single “Possum Kingdom,” inspired by a string of creepy events linked to the lake. Lead vocalist Vaden Todd Lewis, the son of a preacher, wrote the song in a way that opens it up to various interpretations.

One theory suggests that “Possum Kingdom” recounts the story of a serial killer who lured young girls into his boathouse. Legend has it that he would rape and murder his victims inside the boathouse which supposedly still exists within the lake.

Another account revealed that the song was loosely based on a kidnapping and killing spree that happened near the Possum Kingdom Lake during the early 1980s. Local authorities allegedly hid all evidence of the past crimes to avoid turning off the tourists who frequented the lake.

In 1995, RIP Magazine interviewed the band to further explore the urban legends surrounding their song. Although the story was a mishmash of true events and folk legends, Lewis admitted that the lake holds a certain enigma.^[3]

He also shared the true story of a local stalker who had a strange habit of peeping into windows and breaking into people’s houses. The lake is also home to a popular spot—aptly named “Hell’s Gate”—where some tourists either went missing or died from drowning.

7 Ester’s Last Scream
“Love Rollercoaster”

The Ohio Players’ 1975 album, Honey, gained notoriety for two reasons: its provocative cover art and a creepy story hidden underneath. Legend has it that a woman was viciously murdered while the group was recording the album. As the story goes, the victim’s hair-raising scream can be heard between the first and second verses of the song “Love Rollercoaster.”

Several versions of the urban legend came out afterward. One story revealed that the scream actually came from the album’s cover model, Ester Cordet.

Rumor has it that she was required to wear an acrylic substance that looked like real honey during the photo shoot. However, some of the staff removed the paint rather hastily, tearing off Ester’s skin. She screamed—and eventually died—from the agonizing pain caused by the injury.

Other stories, however, claimed that Ester was raped and murdered while the group was busy recording the album. There were also other sources suggesting that the victim was a cleaning woman stabbed to death by a stranger outside the recording studio.^[4]

But members of the band denied the rumors once and for all. Turns out, keyboardist Billy Beck just wanted the listeners to relive the thrilling experience of a rollercoaster ride. So he belted out a diva-like scream (yes, it came from a dude), hitting the high notes the way Minnie Riperton did.

6 The Blood Libel
“Sir Hugh” (aka “The Jew’s Daughter”)
(Child Ballad No. 155)

“Sir Hugh” (aka “The Jew’s Daughter”) is a traditional British folk song dating back to a legend from the 12th century. It is a fine example of a ballad in which the lyrics tell a story of the song’s origin. But in this case, the background story falls between disturbing and macabre.

The song originated from a dark blood ritual considered to be a common practice among ancient Jews. To celebrate the Easter holiday, they allegedly murdered Christian infants and mixed the blood with unleavened bread (aka “matzo”). This bloody murder was also mentioned in an English variation of the song where a child named “Hugh of Lincoln” was purportedly killed by Jews in 1255.^[5]

Later, “Sir Hugh” (aka “The Jew’s Daughter”) began to popularize the legend in other countries, including the US. In fact, the song, without its anti-Semitic references, is said to have inspired another recurring legend called “The Mutilated Boy.”

In this story, young boys were allegedly castrated and left bleeding to death inside the comfort rooms of shopping malls. The culprits belonged either to a homosexual gang or a certain minority group who committed the crimes as part of their initiation rites.

10 Creepy And Outrageous Urban Legends That Turned Out To Be Completely True

5 Ode To The Black Plague
“Ring Around The Rosie”

Most people remember “Ring Around the Rosie” as a simple playground nursery rhyme. But according to legends, this song contains direct references to one of humanity’s darkest periods. Its origin dates to 1347–1350, when an estimated 25 million people died from bubonic plague.

Critics disagree, indicating that it was only in 1881 that “Ring Around the Rosie” first appeared in print. Still, the words from the song are strikingly relevant if put in the context of the Black Plague.^[6]

The “ring around the rosy” refers to one of the first signs of the bubonic plague: a reddish ring surrounding a rosy bump in the skin. At that time, people believed that the epidemic was airborne and that putting posies (flowers), incense, or scented oils into someone’s pocket would help neutralize the “foul air.”

The third line “ashes, ashes” is said to be an imitation of the sneezing sound. Again, this is strangely accurate as sneezing and coughing are two of the fatal final symptoms of bubonic plague. The final statement obviously refers to the massive death toll caused by the epidemic.

So, is it really an ode to the Black Plague?

Turns out, there are a gazillion versions of the song existing today. Some of them—including William Wells Newell’s 1883 version—even lack the last two phrases linking to the Black Plague. Whether or not the creepy version of the song predates the rest is still unknown.

4 The Kleenex Curse
“It’s A Fine Day”

Released in 1983, “It’s a Fine Day” is a classic song written by Edward Barton in collaboration with his then-girlfriend Jane Lancaster. It’s basically a feel-good song popularized by a Kleenex commercial that aired in Japan in the mid-1980s.

Looking back, the ad was something you wouldn’t expect from a company selling tissues. It featured a red baby demon sitting alongside a beautiful actress, later identified as Keiko Matsuzaka. They played the English (and probably the creepiest) version of “It’s a Fine Day” in the background—something that only some Japanese audience members could understand.

Soon enough, a very dark urban legend was born.

Rumor has it that local TV stations received multiple complaints from people who found the commercial too disturbing. Some even claimed that “It’s a Fine Day” originated from a German folk song and possessed a demonic curse.

Other stories are even more unforgiving. Supposedly, by nighttime, the voice in the commercial would suddenly change into a raspy version of an older woman and bring bad luck to anyone who heard it.

The people directly involved in the commercial were not spared, either. After the initial airing, all the staff and actors purportedly met unfortunate fates one by one.

For instance, the actor who portrayed the baby ogre died from a sudden organ failure. Depending on the version of the story, Keiko Matsuzaka either ended up in a mental institution or hanged herself. Other stories claim that Matsuzaka is still alive today but gave birth to a strange, demonic infant.^[7]

3 Hungarian Suicide Song
“Gloomy Sunday”

We’re all familiar with depressing songs driving some people crazy. The premise is the same for “Gloomy Sunday” except that it is deadlier than all other melancholy songs combined.

Its original Hungarian version, “Szomoru Vasarnap,” was written by composer Rezso Seress and lyricist Laszlo Javor. The song tells the story of a depressed woman who is thinking of ending her life after the loss of her lover. Upon release, the song was moderately successful. It wasn’t until 1936 that it gained sudden notoriety.

The Budapest police department reported at least 18 suicides directly linked to “Gloomy Sunday.” One of the fatalities was shoemaker Joseph Keller. According to reports, his suicide note included the lyrics of the song. Other victims listened to the song either from a recording or a Gypsy band before taking their own lives.

Although no known suicide related to “Gloomy Sunday” has been recorded in the US, as many as 200 cases worldwide were linked to the song’s disturbing contents. Most of the victims were young jazz fans who allegedly went into deep depression after listening to Billie Holiday’s 1941 rendition.

Another story tells of how Javor’s breakup with his girlfriend inspired him to write the song. Sadly, the girl ended up poisoning herself and left a note with only two words: “Gloomy Sunday.”

Reszo Seress was not spared from the curse. In 1968, he jumped to his death from his Budapest apartment allegedly due to his failing career. He was 68 years old.^[8]

2 Game Of Death
“Kagome, Kagome” (“Circle You, Circle You”)

“Kagome, Kagome” is a nursery rhyme usually sung in a popular Japanese children’s game. By simply looking at the lyrics, one can conclude that “Kagome, Kagome” is one of the most cryptic songs ever written for children. Several interpretations were made to explain its origin. Most involve grim details ranging from murder to a bloody treasure hunt.

In one story, the “bird in a cage” is seen as a direct reference to a prisoner waiting to be executed. The “evening of the dawn” has been interpreted as “the dawn patrol,” a person assigned to escort convicted prisoners on their final walk.

Another version claims that “kagome” is derived from kagomi (“pregnant woman”). Legend has it that during the time the song was written, an unborn child (i.e., the “bird in a cage”) was seen as a threat to in-laws greedy for an inheritance. So they either pushed the mother down the stairs or used other methods to forcibly abort the baby.

One of the most compelling interpretations, however, reveals that “Kagome, Kagome” holds the clues to finding a lost Tokugawa treasure. In February 1867, Prince Mutsuhito replaced the Tokugawa clan to become the new emperor of Japan. However, for the new empire to rebuild, it had to depend on the gold reserves stored in the government’s vault. Too late, they discovered that all the treasure was gone.

Oguri Tadamasa, a former finance governor of the Tokugawa clan, purportedly buried the treasure. Unfortunately, he was beheaded during the fall of Edo, taking all the secrets to his grave.^[9]

“Kagome, Kagome” suggests that the treasure might be buried somewhere in Nikko Toshogu Shrine. Despite excavation attempts, no link to the Tokugawa treasure has been found yet.

1 The Michigan Dogman
“The Legend”

As part of a 1987 April Fools’ Day celebration, deejay Steve Cook of WTCM-FM radio wrote a song called “The Legend.” As the goal was to intrigue his listeners, he wrote the lyrics by fabricating a story of a half-man, half-dog monster roaming the Michigan forests. He even added fascinating details such as the seven-year interval between reported “Dogman” sightings.

Written in a traditional Native American style, the ballad hit the airwaves just in time for the holiday. However, Cook later found out that the joke was really on him.

After playing the song, the WTCM-FM radio station received an overwhelming number of phone calls. The majority of the callers shared their own chilling tales of encountering a real “Dogman.”

Although most eyewitnesses didn’t know what to call it at first, the bizarre creature they had once encountered shared the same description as that of Cook’s fictional Dogman.

Such was the case with Robert Fortney, a resident of Cadillac, Michigan, whose first and last Dogman encounter dated back to the late 1930s. Fortney described the humanoid creature as a huge, black canid with “slanted, evil eyes and the hint of a grin.”^[10]

Another notable encounter happened in Big Rapids, Michigan, during summer 1961. One night, a man was sitting on a porch across from the manufacturing plant where he worked as a night watchman. At exactly 3:00 AM, he saw the frightening figure of a tall, brown-haired creature walking toward the driveway.

It alternated between walking on its four legs and standing up on two. A photography buff, the man instinctively took his Kodak Signet 35mm camera and captured a few shots of the mysterious creature. At that point, the Dogman rushed toward the woods, leaving no trail behind. To this day, the photo remains the strongest evidence yet that could prove the Dogman’s existence.

10 Bone-Chilling Urban Legends

Music is a universal language that can elicit any number of strong emotions in the listener. Like any art form, it is always subject to interpretation. In certain instances, a closer look at your favorite song can unveil what countless casual listens over the years have failed to expose. Sometimes, these hidden depths are decidedly creepy.

Spanning a wide array of unnerving topics and featuring references both subtle and overt, some of the best-known songs of all time may be about more than you might think at first. Whether through deceptively disturbing lyrics, emotion-evoking musical accompaniments, or a clever combination of both, these 10 well-known songs contain dark depths that you probably haven’t noticed.

Top 10 Songs With Dark Back Stories

10 “In The Air Tonight”
Phil Collins

“In the Air Tonight,” the monster hit from Phil Collins’s 1981 album Face Value, is undoubtedly a musical masterpiece that went on to define an entire generation. Anyone familiar with the number, however, may have noticed that it has a distinctively dark undertone, both musically and lyrically.

The lyrics are open to interpretation. But upon close inspection, it’s clear that the song is about someone who once committed some unspecified unspeakable act that was unknowingly witnessed by the singer at the time.

During the song, Phil is supposedly addressing this individual, revealing what he knows about him, and preparing for some long-overdue act of retribution. This is evidenced by the chorus line, “I’ve been waiting for this moment for all my life.”^[1]

The music itself adds to the tense, atmospheric feeling of the song as described in the title. Having used minimal percussion throughout, the explosive drums introduced after the second verse bring the building tension to a dramatic climax. The vague, somewhat ominous lyrics and the obscure climax add to the overall spooky feeling of the song.

9 “Hotel California”
The Eagles

“Hotel California,” the title track from The Eagles’ fifth album, is a musical tour de force featuring contrasting styles, the best guitar solo of all time, and, yes, rather creepy lyrics.

In subsequent interviews, the band sought to put to bed the wild speculation about the lyrical contents of their biggest hit by claiming that it dealt with the hedonistic life of excess they were living at the time. Many believe, however, that the truth is somewhat darker.

The song concerns a traveler in the California desert who chances upon an unusual hotel. His strange experiences there seem likely to be about devil worship.

Feeling unable to address the subject head-on, the band supposedly made the song as a metaphoric allusion to Satanism with plenty of clues for those who care to look. The album cover is said to depict Anton LaVey, who founded the Church of Satan in California in the 1960s. (Some people mistakenly believe that the Church of Satan was established in 1969, the very year mentioned in the song, but it was actually launched in 1966.)

The travelers remark upon arriving at the hotel that “this could be heaven or this could be hell.” A later reference to stabbing but being unable to kill “the beast” provides further clues. The final line of the song, “you can check out any time you like, but you can never leave,” can be interpreted as a description of the irrevocable act of selling one’s soul to the devil.^[2]

8 “Jeremy”
Pearl Jam

“Jeremy,” a classic Pearl Jam song, deals with a troubled youth who is bullied at school and emotionally neglected by his parents at home. Lead singer Eddie Vedder says the song was inspired by the true story of 16-year-old Jeremy Delle. In 1991, he committed suicide in front of his class and teacher in Texas. Having read the story in a newspaper, Vedder was so moved by the account that he proceeded to write a song about it.

What makes “Jeremy” particularly chilling, however, is not just the story that inspired it but the way the song unfolds. The majority of the song appears to be primarily from the perspective of one student who bullied the boy and the guilt the bully feels in having played a part in events that would follow as he “[tries] to forget this.”

The chorus, “Jeremy spoke in class today,” can be seen as a metaphor for the boy’s suicide. He spoke in the sense that he finally made a drastic statement and his actions bore out feelings that he couldn’t put into words. While the song does not refer to the suicide itself, knowing the story behind the lyrics makes it decidedly chilling.^[3]

7 “Paint It Black”
The Rolling Stones

“Paint It Black,” an early Stones’ masterpiece, is a classic example of style variations within a single piece of music. The slow, heartfelt, sitar-driven parts are interspersed with catchy, upbeat interjections, all overlaid by Mick Jagger’s soulful vocals. More than just an infectious tune, however, the song’s lyrics provide a vivid depiction of depression and the colorless worldview that accompanies it.

One could argue, though, that the color black is more commonly associated with evil than depression and that the song more accurately describes the innate evil that exists within us all. “I see the girls walk by dressed in their summer clothes, I have to turn my head until my darkness goes” is one such line that gives credence to this notion.^[4]

The associated uses of “Paint It Black” in film further support this point of view. The song famously plays over the closing credits in The Devil’s Advocate after the final twist of the movie reveals the ultimate triumph of evil. An instrumental version also features in Season 1 of the TV series Westworld where it provides background music to a particularly gruesome and violent gun battle.

6 “Hey Joe”
Jimi Hendrix

“Hey Joe,” the song that launched Jimi Hendrix’s incredible career, is an all-time classic. Yet the subject matter of the song is surprisingly disturbing. The lyrical contents concern a man who discovers his wife’s infidelity and decides to murder her. Later, we hear an account of the shooting. The song finishes with the man’s apparent plan to flee to Mexico to evade the authorities.^[5]

What makes the song even more creepy is the casual nature in which the whole issue is addressed, as if in a friendly conversation between friends. The song starts with the singer asking, “Hey Joe, where you goin’ with that gun in your hand?” The man being addressed reveals his murderous intentions in a rather offhanded reply.

Later, Joe gives a straightforward account of the murder by saying, “Yes, I did, I shot her.” This exhibits an apparent lack of remorse and macabre pride in his deed.

Additionally, the music retains an overall upbeat, positive feel which contrasts starkly with the business of premeditated murder. Perhaps, the song suggests that such things are necessary from time to time and are even a cause for celebration.

10 Incredibly Dark Stories Behind Influential Songs

5 “Don’t Pay The Ferryman”
Chris de Burgh

“Don’t Pay the Ferryman,” Chris de Burgh’s 1982 hit single, doesn’t seem like a song that contains any creepy content when given a casual listen. The tale told therein concerns an individual who wishes to cross a river. He is warned to refrain from paying the ferry operator until the service has been performed and he is delivered safely to the other side.

The darker nature of this song stems from the fact that the aforementioned ferryman is likely a reference to Charon, the hooded figure who ferries the dead across the river Styx that divides Hades from Earth in Greek mythology. The punishment for refusing Charon the required gold coin as payment is to be denied access to the underworld and forced to remain forever a ghost.^[6]

Multiple lyrical references throughout the song support this notion, which means that the perspective portrayed is that of a dead person consigned to an eternity in Hell. He is cautioned that he can’t let Charon swindle him in the bargain lest he suffer the consequences. An undeniably creepy point of view.

4 “(Don’t Fear) The Reaper”
Blue Oyster Cult

“(Don’t Fear) The Reaper,” Blue Oyster Cult’s famous hit single, deals with the issue of death. As such, it has gone on to feature prominently in many horror films and books. Although many believe that the song deals with the inevitability of death and how it should not be feared, the lyrics could be interpreted as promoting suicide.

The lines “Romeo and Juliet are together in eternity . . . we can be like they are” appear to suggest that premature death is a means of evading the harsh reality of life and forever reuniting with loved ones. After all, Shakespeare’s famous young couple did commit suicide together.

Beyond the first two verses, played in A minor, the music takes a dramatic turn into a hauntingly wailing guitar solo. This appears to represent the reaper himself and contrasts starkly with the supposedly optimistic lyrics previously expressed.

Interestingly, when the music reverts to the style present in the first part of the song for the final verse, a distinctive feedback whine from the solo can still be heard in the background, a possible suggestion that the threat of death lingers always.^[7]

3 “Under The Bridge”
Red Hot Chili Peppers

“Under the Bridge” was the first mainstream hit by Red Hot Chili Peppers and possibly their greatest ever song. A complete departure from the band’s known upbeat funk sound, this song is a slow, sad ballad further enhanced by John Frusciante’s unique guitar style.

Inspired by a poem that lead singer Anthony Kiedis composed while driving one day, the song conveys his growing feelings of loneliness and isolation from the band. It also serves as a heartbreaking reflection on the life of former Peppers guitarist Hillel Slovak, who passed away in 1988.^[8]

What makes this song particularly chilling, though, is the last part that mentions the bridge beneath which Kiedis frequently used drugs. Considering that he was in the grips of addiction at the time of writing and that Slovak’s death was the result of a drug overdose, the lyrics “under the bridge downtown, I gave my life away” become a hauntingly accurate description of the self-destructive nightmare of drug addiction from which it can often feel like there is no escape.

2 “Fade To Black”
Metallica

“Fade to Black,” another ballad somewhat out of character compared to the band’s previous offerings at the time, is one of Metallica’s best-known songs. In fact, it is a staple of their live sets to this day.

The lyrics were written by James Hetfield after his favorite guitar amp was stolen in 1984. Dealing with the pain of loss and accompanying depression, the song seems to be about someone whose agony invites suicidal contemplation.^[9]

Heavy on poetic, depressing sentiments like “emptiness is filling me to the point of agony,” the eerie lyrics conclude with the singer’s apparent suicide as he says, “Death greets me warm, now I will just say goodbye.”

The gentle acoustic verses are separated by a musical interlude full of Metallica’s heavy power chord–laden guitar riffs, an apparent contrast between the singer’s inconsolable misery in the verses and his inexpressible rage at his hopeless situation.

1 “Iris”
Goo Goo Dolls

Written for the 1998 movie City of Angels starring Nicolas Cage, this beautifully tragic song seems to be about unrequited love. While open to interpretation, the lyrics could be seen to convey a somewhat darker sentiment, however.

“Iris” is from the perspective of an individual deeply in love with someone completely unaware of his existence. The description provided could be taken as that of an obsessive stalker, though. Furthermore, the line “you bleed just to know you’re alive” indicates that this supposed stalker is perhaps not entirely mentally stable.^[10]

The fact that the band almost certainly didn’t intend for their song to carry such dark undertones is interesting in itself. It just goes to show that the line between love and obsession can easily become blurred and is often simply a matter of perspective.

10 Popular Songs You Won’t Believe Are Based On Horrible Crimes

The world of Synthwave is one like no other, inspired by the magical nostalgia of the 80’s, mixed with the modern sound of electronic music. As the now semi-underground genre slowly makes its way to a more mainstream status, some classic songs within the community are also gaining in popularity. So, the time is perfect to seize the opportunity to shine a light on the hidden gems of Synthwave. From lesser known artists and off-genre entities, to top tier stars from within the genre, let’s take a look at the 10 greatest Synthwave songs you may have never heard.

Top 10 Most Influential Synthwave Artists

10 “Clara” by Rebecca & Fiona

Rebecca & Fiona is a duo composed of two very enigmatic ladies from Sweden with a unique style. They have been around the block since 2010 and have been widely praised for their particular talent when it comes to blending modern and retro together. Their award-winning debut album “I Love You, Man”, an 80’s and 60’s pop hybrid complete with a mighty touch of modern House music, made them instant stars around the world.

Their true hidden gem, though, comes from their 2014 second album “Beauty Is Pain”, in the form of the song “Clara”, a brutally underrated Synthpop masterpiece graced with Rebecca & Fiona’s signature ethereal vocal style that gives the song a dreamy vibe that perfectly compliments its beautiful sense of nostalgia. While the song is part of another award-winning album, it is by far the most overlooked piece of the duo’s entire body of work.

9 “Neon Shade” by Starfounder

Being a criminally underrated artist in the world of Synthwave in general, we could say, in a way, that Starfounder’s entire discography is eligible for this list. The producer has been around for a couple of years now, and he shows no signs of stopping. His style falls heavily in the realm of Darksynth, and he excels at it in ways other people simply cannot.

While pretty much all of his songs could make it on here, the crown definitely goes to his 2018 artistic tour de force “Neon Shade.” The hard-hitting, obscure, yet insanely groovy beat of this gem grasps you from the very first seconds, and doesn’t let go. The production is flawless, complimented with a lead melody reminiscing of 80’s horror films. It simply oozes badass energy, and deserves to be one of the top hits of the genre.

8 “Words” by Lost Nights

Lost Nights is one of those artists who greatly enjoys playing with genres, in a way that makes his sound feel fresh and untouchble. And, as a result of this experimentation, he offers a variety of original takes on Synthwave. The perfect example for it would be the entirety of his 2019 debut album “Rewind”, but, more specifically, none of his songs hammer this point in harder than “Words”.

The sinister production, paired with the incredibly original robotic vocal design, makes “Words” an absolute marvel to listen to. The melodies are as catchy as it gets, and the ever-changing rhythmic of the drums make for a surprisingly transformative track, heavily driven by its meticulous sense of detail. Lost Nights truly gives us an impressive piece of art that we hope will soon go beyond the Synthwave community and reach mainstream audiences.

7 “Bad Tourist” by Madelyn Darling

Madelyn Darling is a young singer/songwriter who has made quite a solid name for herself within the universe of Synthwave in the past couple of years, which is quite an impressive achievement knowing she has only ever released three songs. And although these songs all have been met with an overwhelmingly positive response from the community, it is ironically her most popular song that is also one of the most underrated Synthwave tracks ever made.

The only thing smoother than the effortlessly soothing beat of “Bad Tourist” is Madelyn’s impeccable vocal work. From the very first word, her soft and serene voice captures you and sends you into a galaxy of tremendous writing. “Bad Tourist” is one of those songs that definitely deserves to kick down the mainstream audience’s doors and become a certified hit, making of Madelyn the star she should be. And, if this song is any indication of what is to come for the singer, there is no doubt she will soon receive the recognition she is deserves.

6 “Gonna Live My Life” by Leandro Da Silva and Tom & Hills (featuring Jutty Ranx)

It is an odd thing when artists known for being in a very specific genre suddenly break their own rules to tackle another one. It generally comes from a personal desire to expand artistically, or simply from a passion project being brought to life. So, when EDM producers and DJs Leandro Da Silva and Tom & Hills teamed up to make a Synthwave record in 2017, people were understandably taken by surprise. Thankfully though, the trio delivered on every front.

With American band Jutty Ranx joining on the vocals, “Gonna Live My Life” is a dynamic, groovy and wistful track that will make you crave an afternoon on the beach with your friends as soon as the beat kicks in. Da Silva’s trademark undertones are still very present in the song, but every single cook in this kitchen put their hearts into making one of the best Synthwave tracks of that year. And while it may have had minor success in the EDM community, it largely flew under the radar in the Synthwave world… or in the world in general.

Top 10 Crazy And Unconventional Music Genres

5 “Creation” by DJ Ten (featuring Lost Nights)

DJ Ten is a highly respected figure in the vast universe of Synthwave. After all, he is the founder of NewRetroWave, the biggest network in the world for the genre, as well as one of its most prominent record labels. As an artist, he is also a powerful presence. When his EP “We Dream Loud” was finally revealed to the world in November 2019, the excitement was palpable. And it is with a sheer sense of euphoria that people to got to discover “Creation”.

Joining forces with Lost Nights, who bears a mighty set of vocals on the track, Ten delivers a compelling song, graced with a slow beat, beautiful melodies, a smooth vibe, and an enchanting sense of nostalgia that will transport you right back to the 80’s. “Creation” is a real masterpiece of the genre, one that is part of a brilliant body of work that solidifies once more DJ Ten’s status in the world of Synthwave.

4 “Paralyzed” by John & The Volta

French Indie Pop band John & The Volta (yes, it is a reference to John Travolta) has been around since 2017, and their 2013 debut EP “Empirical” introduced the world to the song “Paralized”, the original version of “Paralyzed”. The revitalized take on the song was released in their 2017 album “Low Life” and quickly became a fan favorite that established the band’s name in the Indie world.

“Paralyzed” is a charismatic effort from John & The Volta — one that graciously blends Synthwave with a masterful touch of Indie Rock, giving the track its own, very unique identity. If the hook doesn’t make you move even a little bit, we’re afraid nothing ever will. The song has had a moderate wave of success in 2019 after being featured in the third season of the Netflix original series 13 Reasons Why (just like their song “Bad Dreams” was featured in the second season), but it is still far from being the absolute hit it should be.

3 “Galactic Swing” by Florida Skyline

The beautiful sub-genre of Chillwave (or Lo-Fi Synthwave) has been tackled by many over the years, but few have been able to make it their own the way Florida Skyline has. Sadly, we lost Florida Skyline in late 2019, as she tragically past away at the young age of 17. But we are eternally thankful that she left behind her a unique and powerful body of work that we will be able to enjoy forever. The Moscow prodigy was a true master of the genre, and it was never as obvious as it was in her instrumental piece “Galactic Swing”.

The world-class production skill in this song is to die for. The melody work is precise and heavily detailed, creating a dreamy atmosphere that perfectly showcases the talent behind the track. Florida Skyline was only 15 years old when the song was released in her EP “Utopia”, back in June 2017, and we can only imagine what the future would have held for such a talent. And thus, “Galactic Swing” is a song that is entitled to far more recognition than it already has within the community. Rest in peace, Florida Skyline.

2 “Dance 1984” by Wayfloe

Despite being relatively new to the scene, Wayfloe needs no introduction in the Synthwave world. They are one of the most inventive acts the genre has ever known, and they especially stand out due to the glaring sense of mystery around them and their cryptic lyrics. But, while they have mostly been experimental with Synthwave, Wayfloe have also proven several times that, when they do tackle the genre in a more traditional way, they can still outdo almost anyone. Case and point: “Dance 1984”.

From their now iconic tracks “Neon West” with Firefox AK and “Fractions” with Jessie Frye, to the blissfully sinister “Godspeed” and “Moonwalker”, it is safe to say Wayfloe’s unique nostalgic dark tone has become an artistic signature no one can replicate. Which is why “Dance 1984” is such a delight. The track is a surprisingly joyful antithesis to an otherwise somber album with heavy themes. A happy and playful tune that simply expresses the desire to let go and have fun is the opposite of what anyone would expect from the boys in the round glasses, and that is the very reason why this underrated gem is so perfect.

1 “Jumping Judas” by Teenage Bad Girl & Illa J

It has been almost ten years since French duo Teenage Bad Girl has disappeared from the world. With several EPs and albums under their belt, they have had a few minor hits in the late 2000’s and early 2010’s, mainly with their 2011 final album “Backwash”, which has gathered a bit of a cult following over the years, thanks to tracks like “X Girl” with Rye Rye, or the powerful “Fast Food Delivery”. And it is in that final album that the duo gave us what is, to this day, one of the greatest Synthwave tracks of all time.

“Jumping Judas” sees Detroit rapper Illa J join forces with Teenage Bad Girl to create an absolute banger of a record with a dark tone and a powerful lead melody creeping up on you midway through. The whole song is driven by Illa J’s impeccable flow and his old school style of rapping, as well as a flawless production by Teenage Bad Girl, blending several genres of music together, to glue it all with a heavy layer of 80’s synth. Almost 10 years later, very few Synthwave tracks can compare to the sheer brilliance of “Jumping Judas”, and the fact that this song does not get the reputation it has always deserved is an absolute outrage.

10 Crazy Conspiracy Theories Clouding The Music Industry

The Hot 100 is not a meritocracy. If it was, then “The Monster Mash” would have just spent its 58th year at the top. Many of the most iconic songs ever recorded were denied the #1 position for comparably worse records. Immortal classics stalled at #2 behind forgettable one hit wonders, frivolous novelties, or just plain garbage. History has vindicated the following ten songs as transcendent. They just were not quite enough to prove it at the time.

Top 10 Most Notorious Metal Bands Ever

10 Queen’s “Bohemian Rhapsody”

Song that kept it off: Kris Kross’ “Jump”

The stranger thing might be that “Bohemian Rhapsody” nearly topped the charts seventeen years after its 1975 release. The cultural power of Queen’s operatic odyssey has never faded. It took a couple of headbanging doofuses to revitalize interest in the classic rock mainstay. An iconic scene in Wayne’s World features five friends jamming out to the gloriously theatrical “Galileo” breakdown. The movie’s popularity spurred the song to chart seven spots higher than it did decades earlier.

The top two in May of 1992 were as backwards as Kris Kross’ pants. Outside of their gimmick, Kris Kross were a couple of kids who lucked into an irrepressible hit. It is not fair to write Kris Kross off as flashes in the pan, but “Jump” remains their singular defining moment. More importantly, “Jump” launched Jermaine Dupri’s production career.

Compared to the short-lived fame of Kris Kross, “Bohemian Rhapsody” still remains omnipresent. Following the biopic that shares its name, “Bohemian Rhapsody” joined the exclusive list of songs that charted on the Billboard Hot 100 in three separate decades. It has quite the legacy. Still, the fact that Freddie Mercury’s signature tune lost to Kris Kross for eight continuous weeks is wiggida wiggida wiggida wack.^[1]

9 Kelly Clarkson’s “Since U Been Gone”

Song that kept it off: 50 Cent’s “Candy Shop”

New York’s post-punk revival was all about grit. Indie upstarts in the early 2000’s retreated to the abrasive aesthetics of bygone eras to recapture something lost in a post 9/11 world. It is cosmically unjust that the people who shepherded this sound into the top ten were a prepackaged reality show diva and the Swedish mercenaries responsible for Britney Spears and the Backstreet Boys. In their defense, they absolutely nailed it.

Pop Svengali Max Martin felt “Maps” by the Yeah Yeah Yeahs was missing something. He was alone. “Maps” is among the most celebrated songs of the new millennium. Martin still thought the tender ode of devotion needed a more powerful chorus. That idea eventually morphed into the single, “Since U Been Gone.” Clarkson’s anthemic roar saved her from American Idol irrelevance and prefaced a new age of pop singers backed by guitars from Katy Perry to P!nk.

On the other hand, her main rival, 50 Cent’s “Candy Shop,” was already a fading relic during its nine-week perch. By 2005, braggadocio rap’s reign was declining. “Candy Shop’s” insipid wit and ham-fisted metaphors encapsulated exactly why the genre waned.^[2]

8 The Ronettes’ “Be My Baby”

Song that kept it off: Jimmy Gilmer and the Fireballs’ “Sugar Shack”

Phil Spector is one of pop music’s worst villains. He should be remembered as an abusive demented murderer. Equally, he should be hailed for producing one of the purest bursts of euphoria ever put on record. History is funny like that.

Nowhere as bad as the monstrous Spector, Jimmy Gilmer and the Fireballs are responsible for another great injustice against the Ronettes. In the creative nadir between the explosive birth of rock and roll and the dawn of the British Invasion, goofy treacle like “Sugar Shack” could become the best-selling song of 1963. Among the lone geniuses climbing the charts, the Ronettes were the muses for Phil Spector’s innovative girl group sound. “Be My Baby’s” evocative opening heartbeat drum fill is the most overanalyzed 1963 recording outside of the Zapruder film. Conversely, “Sugar Shack’s” beat is a clumsy Hammond amble resembling a farting accordion. The Ronettes perfected the dizzying rush of new found love. It certain makes for a more compelling subject than a smarmy creep hitting on a woman at her job.^[3]

7 The Kingsmen’s “Louie Louie”

Song that kept it off: The Singing Nun’s “Dominique”

Perhaps, the country needed a balm. Appropriately, the first #1 song in the wake of John F. Kennedy’s assassination was a simple ode to an earlier fallen Catholic leader. Few other justifications explain how the wholesome French ballad “Dominique” beat out one of the foundational chaotic texts in all of rock. Despite the fact that their sole hits could not be more sonically dissimilar, both The Kingsmen and The Singing Nun got into trouble with their respective governments.

The Kingsman’s formative garage rock stomper “Louie Louie” was so raucous that the FBI investigated its muddled vocals. Apparently not too busy dealing with the Kennedy assassination, federal officials spent two years listening to the amateurish cover to hear if the audio buried any questionable lines. They could have saved a lot of time just listening to the Richard Berry original. In the end, they determined that the lyrics were completely unintelligible. Embarrassingly, they never realized that drummer Lynn Easton shouts “f*ck” after flubbing his cue.

Sister Jeanne-Paule Marie Deckers’ track has a much sadder background. Belgian authorities hounded her for back taxes. They could not believe she never got any residuals from her global smash. Her label and convent scammed her out of a fortune. Decker was forced out of her convent. Following a crisis of faith, Decker started dating Annie Pécher. In 1985, the two long term partners intentionally overdosed on barbiturates and alcohol. A nearby note read, “We hope God will welcome us. He saw us suffer, so He should show clemency.”^[4]

6 Marvin Gaye’s “What’s Going On”

Song that kept it off: Three Dog Night’s “Joy to the World”

Marvin Gaye had enough. Begrudgingly stuck in the sidelines, he resented not fighting like his brother stationed in Vietnam. He could still serve his country. Using his dissolving family as a microcosm for society at large, Gaye saw how violence divided the nation. His soul-searching call for unity resonated with a bit less people than a song about getting drunk with a bullfrog.

Three Dog Night’s brassy fluke “Joy to the World” is one of the dumbest novelties of all time. “What’s Going On” is such a tightly constructed standalone single that it still served as the title track of a cohesive elegy of an album. “Joy to the World” barely strings along inane non sequiturs into something with the passing semblance of verses. So consumed by Vietnam, Gaye was thrown into depression. The only time the simpleminded Three Dog Night mention the war, they immediately undercut it by saying that they just want to make sweet love. Hopefully, this refers to someone other than their amphibian friend Jeremiah.^[5]

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5 Gnarls Barkley’s “Crazy”

Song that kept it off: Fergie’s “London Bridge”

In 2006, two songs posed questions. Along with Gnarls Barkley collaborator Danger Mouse, Cee Lo Green contemplated whether he was crazy to think he could will his marriage back from the dead after his wife asked for a divorce. Even if he could rekindle the relationship, would it merely be a bleak visage of what it once was? Why even be a part of a marriage like that? Fergie simply wondered, “how come every time you come around [her] London, London Bridge wanna go down, like London, London, London?”

The ethereal haunt of “Crazy” could not compete with twin raunchy powerhouses, Nelly Furtado’s dynamically flirtatious “Promiscuous” and Fergie’s obnoxiously clunky “London Bridge.” Fergie succinctly describes “London Bridge” in its own opening two words. If one can ignore the incredibly cumbersome simile that some anatomical feature is comparable to either a historical English landmark or a children’s nursery rhyme, it still contains the woefully cringeworthy refrain of “me love you long time”. If only history repeated itself and “London Bridge” had fallen down.^[6]

4 The Rolling Stones’ “19th Nervous Breakdown”

Song that kept it off: SSgt. Barry Sadler’s “The Ballad of the Green Berets”

During one of the most fruitful explosions in pop culture history, a plodding pretentious piece of pro-war propaganda was the bestselling single of 1966. The five weeks stay on the summit meant something assuredly better was blocked off.

In their own ways, “The Ballad of the Green Berets” and The Rolling Stones’ “19th Nervous Breakdown” are both reactionary records against disaffected youth. Their targets could not be more different. The Stones’ condemnation against spoiled elites is filled with venomous derision. Bill Wyman’s propulsive bass line elevates Mick Jagger’s mocking sneer into effigy of London’s Swinging Sixties. Barry Sadler’s take down is comparatively lifeless. The faux military drum roll is the closest thing to a pulse. It carries Sadler’s monotone story where a soldier dies and wishes his child joins the same organization responsible for his death. Stoic Sadler never questions the needlessly cruel conflict. He displays no emotion either way.

Barry Sadler did not have much success outside of pop music. The royalties off one song dried up pretty quickly. He moved to Nashville to revitalize his career. In 1978, he shot Lee Emerson Bailey, Marty Robbins’ and George Jones’ former manager, over a woman. Sadler claims that he saw a glint of metal in the unarmed Bailey’s hand. Sadler only served 28 days in prison for the lesser offense of voluntary manslaughter. Out of prison, Sadler moved to Guatemala to train Nicaraguan contras. Either accidentally by his own hand or in a robbery, Sadler was shot in the head. The resulting coma contributed to a fatal heart attack at 49. The Rolling Stones ended up doing pretty well for themselves.^[7]

3 Dr. Dre featuring Snoop Dogg’s “Nuthin’ But A G Thang”

Song that kept it off: Snow’s “Informer”

Snow was not an imposter. He was a criminal living among Jamaican immigrants. Yet compared to the effortless swagger of Dr. Dre and Snoop Dogg, Snow seems desperate. Every choice sounds like a man floundering his credibility. Gangstas threatening to stab someone are a lot more believable when they call it anything other than “licky boom-boom down.”

Snoop Doggy Dogg and Dr. Dre were at the door, ready to make an entrance. Snow did not back on up. Snoop and Dre would have given the #1 slot some much needed legitimacy. The first batch of rappers to top the chart were an assortment of ridiculous wannabees, like Vanilla Ice and Marky Mark, or momentary highlights, like P.M. Dawn. With his Toronto born patois, Snow is firmly in the first category. Snoop and Dre are neither. They were pioneering artists trailblazing a whole new style of hip hop, G-funk. Instead, the public chose a Canadian putting on a fake accent bragging about being anally probe by a police officer.^[8]

2 Sam Cooke’s “Chain Gang”

Song that kept it off: Larry Verne’s “Mr. Custer”

The only time Sam Cooke hit #1 it did not count. Cooke’s shimmery coo “You Send Me” peaked in an early forerunner of the Billboard charts, the Best Sellers in Stores. In 1958, Billboard consolidated their respective lists into the Hot 100. When it came time to properly ascend, he was blocked by one of the most repellent hits ever.

In theory, both “Chain Gang” and “Mr. Custer” describe historical minorities suffering. In practice, the differences are stark. Cooke empathizes with the plight of abused prisoners yearning to reconnect with loved ones. Verne idolizes a genocidal madman and treats those fighting his invasion as a punchline. “Chain Gang’s” beat is driven by inmates’ sledgehammers, turning their tortuous exploitation into a celebration of resilience in an intolerant justice system. Conversely, “Mr. Custer” destroys any momentum by interrupting the melody with yelped out racist caricatures of Native American war cries and spoken word sketches. For a week in 1960, the record buying public preferred a yokel belching out a southern twang over the angelic voice of one of the greatest soul artists of all time. American taste has always been inexplicable.^[9]

1 Gerry Rafferty’s “Baker Street”

Song that kept it off: Andy Gibb’s “Shadow Dancing”

The most egregious block in chart history has nothing to do with the respective songs’ quality. Both “Baker Street” and “Shadow Dancing” have merits. They work as companion pieces for the same ennui. “Baker Street” wallows in bourbon-soaked dread. “Shadow Dancing” is cocaine propelled anxiety. Nor does it have anything to do with fatigue of Bee Gee’s cultural onslaught. In the height of disco, Barry Gibb was so prolific that his younger brother could turn his runoff into the biggest selling song of 1978. The problem with the “Baker Street’s” silver medal status is that its gold was stolen.

For six of “Shadow Dancing’s” seven-week run, “Baker Street” sat within striking distance. In one weeks, chart tabulators told America’s Top 40’s producers “Baker Street” finally broke through. Billboard chart director Bill Wardlow protested. Gibb’s managers threatened to remove him from a Billboard show if “Baker Street” knocked off “Shadow Dancing.” Host Casey Kasem re-recorded after Wardlow called. Even outside of the lyrics, “Baker Street” could not win.^[10]

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About The Author: Nate Yungman’s favorite song is “Baker Street.” If you thought this article was a load of number two, then you can email comments or questions to [email protected]. If you thought it was the tops, follow him on Twitter, @NateYungman