Open your ears, this is the new stuff

The name of this blog is Hack’s BACK Pages.  I am, by nature, a pretty nostalgic person.  I enjoy looking back fondly on the days of my youth and young adulthood, and it is the music from those days that I am most passionate about.

But still, as I have eased (or stumbled) into my 40s, 50s and 60s, I have continued to occasionally buy new music when it has been released, or when I have discovered it after the fact.  I remain curious and eager to build my music collection and keep my ears to the ground for artists that make me sit up and take notice.  To those who say “there’s no good music being made anymore,” I call bullshit.  There is a TON of good, even great, music coming out all the time.  You just have to look a little harder to find the music that appeals to you.

I like to think I enjoy many different genres of music, but truth be told, there are some I just can’t (or won’t) digest.  Hip hop?  Sorry, not interested.  Bubblegum pop?  Nope, I’m too old now for that cotton-candy froth.  Country?  Well, I’m more open to it than I used to be, but I certainly don’t prefer it.

My leanings are toward blues-based rock, and straight blues, and progressive rock, and perceptive singer-songwriter folk, and energetic rhythm-and-blues.  So as I have leaned in to the music of the 2010-2019 decade, I have naturally been inclined to find albums by artists in the genres that press those hot buttons.

images-81Some of these musicians are new, meaning they arrived on the scene within the last 10 years.  Others first showed up during the 1990s or 2000s, but I didn’t hear them (or they didn’t come up with their best work) until this decade.  And still others are vintage artists from my years (1960s, 1970s and 1980s) who are somehow still cranking out some amazing new stuff.

This week’s post will take a look at 10 new artists from the 2010s who I’ve been enjoying, artists who I believe are worthy of your attention.   In the next two blog installments, I’ll explore the bands from older decades who captivated me with their new releases during the 2010-2019 period.


Alabama Shakes

A combination of soulful roots-rock, blues rock and the earthshaking pipes of Brittany Howard brought Alabama Shakes near universal acclaim when they made their full-c5d3279ab03b58701be6ea50a8e8ba5aalbum debut on “Boys and Girls” (2012).  Part of its appeal is its rough-around-the-edges production and down-home earthiness, which make the songs sound rawer and more vital.  Check out “Rise to the Sun” and “Heartbreaker” for a hint of what I’m talking about.

While Howard’s forceful voice shows serious evidence of Aretha Franklin and Janis Joplin, it is actually closer to the late Amy Winehouse in the way she can grab a lyric and shake it like a dog with a squirrel in its mouth.  Conversely, she has a gentler side that coaxes songs like “I Found You” and the delicious title song over the finish line in convincing fashion.  I get the album-coverimpression she could win me over singing the New Jersey phone book.

The Alabama Shakes follow-up “Sound and Color” (2015) continues Howard’s startling dominance over her material, but this LP seems a bit too trippy and experimental in places, and suffers from production trickery that works against the band’s strengths.  But there are still some fine moments — the quirky, staccato rhythms on the the singles “Don’t Want to Fight” and “Future People” provide a seductive platform for Howard’s imaginative vocal play, and her band seem well equipped to the task of backing her up.

I hope to see an Alabama Shakes gig someday, hopefully in a small, sweaty venue.  I get the feeling it would shake me to the core.

The War on Drugs

A heartfelt thanks to my friend Raj for first exposing me to the dreamy music of The War on Drugs.  The rich, layered arrangements and strong vocals heard on “A Deeper 600x600bb-2Understanding” (2017) are truly a wonder to behold.  Adam Granduciel is clearly the wunderkind in charge as chief songwriter, keyboardist and singer, and he joins the ranks of do-it-all musicians like Stevie Wonder, Jack White and Ian Anderson who, although there are other band members who provide color and shading, tend to run the show with an iron fist.

The first track I heard was the 11-minute “Thinking of a Place,” which turned out to be the appropriate introduction to the album.  There’s so much going on here, but its slow development and its sense of not being sure exactly where it’s going is image-3downright thrilling as layer after layer builds into a shimmering production.  There’s such marvelous attention to sonic details, and the push and pull of grittiness and studio polish is mesmerizing.  It’s no wonder “A Deeper Understanding” won a 2018 Grammy for Best Rock Album.

Granduciel’s smooth, strong voice soars along the top edge of his arrangements (take note of “Holding On” and “Nothing to Find” with their Dylanesque influences), and the result is captivating.  The overall excellence of “A Deeper Understanding” has sent me back to explore The War on Drug’s earlier efforts, especially “Lost in the Dream” (2014), and I’m eager to hear if the band’s next release can top their work thus far.

Mayer Hawthorne

If you miss the sound of ’70s soul and ’60s Motown, then Mayer Hawthorne is for you.  Good Lord, this guy — who has chosen a public persona akin to Buddy Holly — has an Unknown-78uncanny ability to sound as retro as Al Green or Bobby Womack, although with a more modern day production.  On “How Do You Do” (2011), Hawthorne has Temptations send-ups like “Hooked,” falsetto-driven grooves (“A Long Time”), and perhaps the finest kiss-off to an ex-girlfriend I’ve ever heard (“The Walk”).  Check out these lines:  “I love the way you walk now, and your legs are so long/ well, your looks had me putty in your hand now/but I took just as much as I can stand now/ and you can walk your long legs, baby, out of my life…”

Unknown-80His more recent album “Man About Town” (2016) is also well worth your time.  Fabulously sexy ’70s-era soul tunes abound, from “Breakfast in Bed” to “Cosmic Love,” seemingly designed to take us back to those summer nights when The Stylistics and Marvin Gaye were our radio companions to romantic adventures in back seats.  There are plenty of dance-floor workouts here too, like “The Valley” and “Love Like That.”  In short, Hawthorne and Company bring a broad smile to my face whenever I slide either of these CDs into the player.

Emily Hackett

Ok, I am biased big time here, but it’s high time my girl got the kind of exposure and success her music deserves, and there’s a growing audience of fans that agrees with me. eh-sunEmily’s songs have matured in both lyrical content and musical sophistication since her early EPs, “Fury, Fear and Heartbreak” (2013) and “The Raw EP” (2015).  In 2018, she completed her first full album but chose to release it as two EPs instead — “By the Sun” (2018) and “By the Moon” (2019), which illustrate two different sides of Emily’s songwriting.

The spirited fun of “Nostalgia” and “Good Intentions” highlights “By the Sun,” offering quality examples 97afa893a4e0eb32a75fdafcd2cf0cc6.1000x1000x1of her pop side and country influence, respectively.  “‘By the Sun’ was open and honest, and that continued onto ‘By the Moon,’ but the songs on that one took me to a more vulnerable place,” she says.  “It’s like, ‘Now that I’ve introduced myself to you, let’s get real, so I can tell you about the mistakes I’ve made and the lessons I’ve learned.’”

Songs like “Easy” and “Worth the Weight” show a lot of the soul searching evident throughout “By the Moon,” and producer Davis Naish has done a marvelous job of adding nuanced electric guitars that turn Emily’s songs into strong recordings worthy of airplay.  The final tune, the achingly pretty “Once in a While,” was recorded in a church with a string quartet, and it might be my favorite of the bunch (I’m a sucker for melodic ballads!).

Imagine Dragons

I was first turned on to this band when I saw their are-you-kidding-me performance at the 2013 American Music Awards.  I’d never heard of them, but was so impressed by Imagine-Dragons-Night-Visions-album-cover-820what they offered that I picked up “Night Visions” (2012) and played it relentlessly for months.  The adrenaline rush I would get from the percussion-heavy “Radioactive” and the marvelous light/dark contrast of songs like “Demons” and “Bleeding Out” made me conclude that I’d found a new favorite band, at least for a while (these things do change, though, don’t they?).

To me, some of the tracks (“Hear Me,” “Amsterdam”) recall Fleetwood Mac at their late ’70s best, thanks to the harmonies provided by lead singer Dan Reynolds and the backing vocals of guitarist Unknown-81Wayne Sermon and bass/keyboard man Ben McKee.  Just as important is how Imagine Dragons utilize drums and percussion in such a dynamic way, taking a simple guitar melody and turning it into something else entirely.

I have been less impressed with the group’s subsequent releases as they have strayed from an alternative rock groove to a more pop-rock sound.  Indeed, when I first heard “Believer” and “Thunder,” the big hits from “Evolve” (2017), I assumed it was Maroon 5’s Adam Levine handling the vocals (not that that’s so bad, but not what I expected from Imagine Dragons).  Not sure what the future will hold for them, but I’ll be watching.


What a heart stopping voice Hozier has!  Booming and effervescent, it’s an instrument 220px-Hozier_albumthat communicates passion, adventure and wisdom, and recalls the vocal virtuosity of early Elton John.  Indeed, on his debut, “Hozier” (2014), he channeled Elton on the brilliant, self-penned “Take Me to Church,” with majestic highs and lows.  There’s a virtual Irish stew of great music to be found here — a healthy dose of R&B, a dash of gospel, a hint of folk and a foundation of bass-driven rock.

I’m please to report that Hozier’s sophomore release,  Hozier_WastelandBaby“Wasteland, Baby!” (2019), picks up right where he left off, and is arguably an improvement.  Such great tunes, like “Almost (Sweet Music)” and the riveting opener “Nina Cried Power,” which name drops Nina Simone and others who used music to protest injustice, and he invites the great Mavis Staples to add her magnificent chops to the proceedings.

I heard Hozier perform many of these tracks last summer at an outdoor music festival in Ohio, and he held the crowd rapt with his soulful delivery.  Encore, baby!

Flying Colors

This American band came together through auditions set up by a producer named Bill Evans, who wanted to create a group that combined sophisticated music (complex composition and virtuoso performances) with accessible, mainstream songwriting.  His idea was to channel the instrumental complexity through a charismatic pop singer/songwriter81YKPfd-NvL._SX355_.  He found what he was envisioning when he met Casey McPherson, a fantastic singer-songwriter who had worked in Alpha Rev in Nashville.  Evans put McPherson together with Steve Morse and Dave LaRue from the Dixie Dregs, plus Steve’s brother Neal and drummer Mike Portnoy, and they toiled for many months creating intriguing workups of basic song structures McPherson had written.

The result, “Flying Colors” (2012), is indeed complex yet accessible, sophisticated yet mainstream.  I can’t get enough of this stuff, and you need look no further than the opening track, “Blue Ocean,” to understand what this band is about.  The galloping beat, the guitar/keyboard interplay and especially McPherson’s compelling voice combine to create an instantly likable sound, and it’s an exhilarating roller coaster ride.

There’s a definite progressive rock bent to their music.  Songs like “Everything Changes” and “The Storm” remind me of Kansas at their most melodic, with majestic chord changes and soaring guitars.  While some tracks are as immediately accessible as Unknown-83promised, others take some time to absorb, just as the best progressive rock of the ’70s did (Yes, Genesis, et al).

By the time of their follow-up LP, “Second Nature” (2014), Flying Colors were now self-produced, and had been together long enough to enjoy a productive chemistry in their songwriting.  Each member was encouraged to bring in ideas, maybe song fragments that could then be developed by the entire band.  Again, the opening track, the 12-minute “Open Up Your Eyes,” offers a perfect example of that collaborative effort, with McPherson’s vocals not coming in until the four-minute mark.  Drummer Portnoy describes “A Place in Your World” this way:  “catchy vocal hooks with clever, tasty musicianship sprinkled on top — a great example of the Flying Colors vocal blend.”  Amen!

Leon Bridges

Holy smokes, another amazing R&B voice in the Sam Cooke tradition!  This product of 54bdf139Fort Worth, Texas bars and clubs exploded on the musical scene with “Coming Home” (2015), and quickly gained national recognition for this strong batch of Neo-soul.  I first heard him on “Saturday Night Live,” where he performed the effervescent “Smooth Sailin'” and the amazing gospel ode “River,” and I was struck by his amazing tenor and vocal control.

The songs found here are the product of an excellent four-man songwriting team headed up by Bridges, and the influence of masters like Unknown-84Smokey Robinson and the Holland-Dozier-Holland team at Motown is undeniable.  I’m partial to tracks like “Better Man,” “Twistin’ & Groovin'” and “Brown Skin Girl,” which showcase Bridges’ butter-smooth voice and some luscious saxophone licks.

The more recent release “Good Thing” (2018) puts Bridges’ voice even more out front, and on a more diverse set of material.  “Believe” uses a spare acoustic guitar arrangement, while “Bad Bad News” has a jazzier groove that recalls the later albums of Steely Dan.  “If It Feels Good (Then It Must Be)” positively overflows with danceable vibes.

Ed Sheeran

A friend told me recently, “If I hear Ed Sheeran one more time, I swear I’m gonna snap.”  I get that.  He’s had three albums in the 2010s, and they’ve all had many millions of hits online.  This guy has suffered the backlash that comes from near-unanimous praise and suffocating overexposure.

es-divide-final-artwork-lo-res-1And yet, I really like his songs and the way he sings them.  Take “Supermarket Flowers,” a track from his most recent LP “÷ (Divide)” (2017).  It’s a wispy ballad Sheeran wrote as a tribute to his late grandmother, a retelling of the aftermath of her funeral from the perspective of his mother.  Though the poetic verses deal with how a loved one’s death can be numbing in its monotony, the chorus, with its angel imagery and “hallelujah”-ing, seems built for cathartic group sing-alongs.  It sure worked for me when my mother passed away recently.

“Castle on the Hill” and “Galway Girl” are both also autobiographical but miles apart musically, and they each work beautifully.  The former uses a relentless U2-type rhythm to tell how his sad remembrances of youth can’t keep him from wanting to visit the hometown anyway, while the latter, as you might expect, is all Irish jig and positivity Unknown-85about a lady he admired and then wishes well when she marries someone else.  On the other hand, I can do without the big single “Shape of You,” which I find repetitive and boring.

Sheeran is a ridiculously prolific songwriter, churning out well over 100 songs for “X (Multiply)” (2014), from which he chose 12 for the album (and another dozen for deluxe editions).  Perhaps his best from this group are the megahit “Thinking Out Loud,” a lovely ballad, and the equally gorgeous “Bloodstream.”

His music goes down very easy with me, and it is among the most streamed over the past five-plus years.  He’s certainly my type, even if he doesn’t float everybody’s boat.

Maggie Rogers

DpLbfZSX4AAgAK8Nominated for Best New Artist at this year’s Grammy Awards is 25-year-old Maggie Rogers, a gifted singer-songwriter who has found an appealing way to merge her folk style with electronic production.  The resulting debut LP, “Heard It in a Past Life” (2019), includes songs from earlier EPs and strong new tunes such as “Light On,” “Fallingwater” and “Past Life,” on which her voice recalls early Joni Mitchell.  Several music publications and online sites picked Rogers’ LP as one of the Top 50 of 2019.  I love her stuff, and I’m eager to see what happens next for her.








Gonna sit down in the kitchen, fix me something good to eat

Everybody needs love, so it’s not surprising it’s probably the number one topic for popular song lyrics.  Everybody needs food too, so it stands to reason there would be tons images-76of songs about food as well, but that’s just not the case.

Rock bands, by and large, have rarely written any songs that mention food in the title, let alone as the focal point of the lyrics.  It seems that most times you encounter song lyrics about food, it’s a whimsical country tune, and it’s more likely to be about a Southern guy or gal who refers to the other by a food-oriented nickname!

Consequently, the songs about food I’ve compiled here reflect those tendencies.  The first few are examples of songs that mention food in a euphemistic way, while the rest actually celebrate the foods themselves.

Eat up!


“Apples Peaches Pumpkin Pie,” Jay & The Techniques, 1967

R-7533533-1478705308-5117.jpegSongwriter Maurice Irby Jr. came up with this catchy tune in which the title really has nothing to do with the food items mentioned.  “I was working on lyrics while sitting in a diner, and I saw ‘Apple, peach, pumpkin pie’ listed as dessert choices on the menu,” he recalled.  “I thought the phrase rolled off the tongue so nice.  I just made ’em plural and used it as the title.”  The recording of it by Jay and The Techniques zoomed to #6 in the summer of 1967:  “Apples peaches pumpkin pie, you were young and so was I, now that we’ve grown up, it seems you just keep ignoring me, I’ll find you anywhere you go, I’ll follow you high and low, you can’t escape this love of mine anytime…”

“Lollipop,” The Chordettes, 1958

Lollipop-English-2014-500x500The Wisconsin-based female choral quartet known as The Chordettes got their start singing traditional folk music, but by the mid-’50s, they chose to focus on close-harmony tunes sung a cappella.  They had eight Top 20 chart entries between 1954-1961, but their two biggest claims to fame were the #1 smash “Mr. Sandman” in 1954 and the #2 hit “Lollipop” in 1958, which uses the popular candy as a nickname for a boyfriend:  “Call my baby lollipop, tell you why, his kiss is sweeter than an apple pie, and when he does his shaky rockin’ dance, man, I haven’t got a chance, I call him, lollipop, lollipop…”

“Ice Cream Man,” Tom Waits, 1973

35c9a4b0-d4dd-3e6f-87fd-2185519296e2_6c5bWaits’ brilliant debut LP “Closing Time” is full of ballads and mournful melodies, but one exception is the upbeat ditty “Ice Cream Man,” in which he plays the role of a street vendor offering literal and/or figurative ice cream treats to the young lady he’s wooing:  “I’ll be clickin’ by your house about two forty-five, sidewalk sundae, strawberry surprise, I got a cherry popsicle right on time, a big stick, mama, that’ll blow your mind, ’cause I’m the ice cream man, I’m a one-man band, yeah, I’m the ice cream man, honey, I’ll be good to you…”

“Gravy (For My Mashed Potatoes),” Dee Dee Sharp, 1962

dee-dee-sharp-gravy-for-my-mashed-potatoes-cameo-sIn 1962, R&B singer Sharp was a sensation with five Top Ten singles, two of which capitalized on the popular Twist-like dance move known as the Mashed Potato, where dancers would grind their feet into the dance floor as if mashing potatoes.  In the lyrics to “Gravy,” Sharp says she needs more than just dancing, she needs romancing as well:  “I dig this twistin’ but I want some more, there’s somethin’ missin’ while we’re on the floor, come on baby, I want some gravy, a little kissing’s what I’m waiting for, gimme gravy on my mashed potatoes…”

“Pulling Mussels (From a Shell),” Squeeze, 1980

81ZLUjq0kRL._SX355_Chris Difford, Squeeze’s lyricist partner with songwriter Glenn Tilbrook, said he wrote the words to this tune almost as a journal entry, telling about his vacation day by the shore as a teenager in his native England.  “It’s not about food, not really.  It’s about being horny with someone at summer camp, which, let’s be honest, was beautiful and true the first time we encountered it.  It’s a sweet memory about finding something beautiful and pure in the middle of a sea of banality”:  “Behind the chalet, my holiday’s complete, and I feel like William Tell, Maid Marian on her tiptoed feet pulling mussels from a shell…”

“Beans and Corn Bread,” Louis Jordan, 1949

Unknown-63Jordan and his jump-blues band The Tympany Five were hugely popular in the juke joints as well as some of the tonier clubs in bigger cities when they could get gigs there.  Many of the early rock and roll pioneers credit Jordan for writing songs that inspired them to compose their own brand of irresistible dance music.  This one used food pairings to emphasize the need for couples to stick together:  “Beans and corn bread, hand-in-hand, that’s what beans said to corn bread, ‘We should stick together, hand in hand, we should hang out together like wieners and sauerkraut, we should stick together like hot dogs and mustard…'”

“Sweet Potato Pie,” James Taylor, 1988

71Y6s6uFdIL._SY355_North Carolina-born Taylor no doubt ate his share of sweet potato pie in his youth.  For his high-spirited song by that name from his 1988 album “Never Die Young,” Taylor sings about a girl the narrator knew years earlier who ends up as his delicious ladyfriend decades later:   “I’m glad I had to wait awhile, a little bit too juvenile, I needed to refine my style, a silk suit and a crocodile smile, so let the whole damn world go by ’cause I just want to testify, from now on, it’s me and my sweet potato pie…”

“Cheeseburger in Paradise,” Jimmy Buffett, 1978

Unknown-64Buffett’s famous tune, which became the name of his lucrative restaurant chain as well, speaks of how it’s no fun dieting and eating healthy foods all the time, not when what he really wants is a good old-fashioned American favorite, which he describes in delirious detail:  “I like mine with lettuce and tomato, Heinz 57 and French fried potatoes, big kosher pickle and a cold draft beer, well, good god almighty, which way do I steer for my cheeseburger in paradise?…”

“Jambalaya (On the Bayou),” Hank Williams, 1952

Unknown-65Jambalaya is a spicy, Louisiana-based dish of sausage, crawfish vegetable and rice, and Williams’ song honoring its savory flavor was written to be delivered as a Cajun two-step tune.  He chose to dilute it somewhat to make it more palatable to a mass market, which was the right move — it held the #1 spot on the country charts for 13 weeks in 1952, and crooner Jo Stafford’s cover peaked at #3 on the pop charts that same year.  Other major artists covering the song in the years since include Fats Domino, Elvis Presley, Jerry Lee Lewis, John Fogerty, The Carpenters, Emmylou Harris and Van Morrison:  “Jambalaya, crawfish pie and fillet gumbo, for tonight I’m gonna see my cher ami-o, pick guitar, fill fruit jar and be gay-o, son of a gun, we’ll have big fun on the bayou…”

“Savoy Truffle,” The Beatles, 1968

Unknown-66George Harrison wrote this track from “The White Album” about his pal Eric Clapton, who had such an addiction to sweets that it caused him plenty of trips to the dentist to have teeth pulled.  Harrison mentions several yummy European candy specialties that ultimately made his friend’s life miserable:  “Creme tangerine and montelimar, a ginger sling with a pineapple heart, a coffee dessert, yes, you know it’s good news, but you’ll have to have them all pulled out after the Savoy truffle…”

“Coconut,” Harry Nilsson, 1972

images-75This was essentially a novelty tune that made it all the way to #6 in the summer/fall of 1972.  Nilsson wrote it as a doctor’s whimsical remedy for a hangover, combining coconut and lime in a big glass:  “You put the lime in the coconut, you drink ’em both together, put the lime in the coconut, then you feel better, put the lime in the coconut, drink ’em both up, put the lime in the coconut, and call me in the morning…”

“Banana Pancakes,” Jack Johnson, 2005

Unknown-67The hedonistic life of surfer Jack Johnson comes through in much of his music, which encourages enjoying life’s pleasures, laying around in a hammock, on the beach, or in bed.  Johnson urges his girlfriend to remain in the sack on a cool cloudy weekday while he makes her a plate of her favorite breakfast:  “Baby, you hardly even notice when I try to show you this song is meant to keep ya from doing what you’re supposed to, waking up too early, maybe we can sleep in, make you banana pancakes, pretend like it’s the weekend now…”

“Polk Salad Annie,” Tony Joe White, 1969

Unknown-68Pokeweed grows in the wild in the woods down South, and White recalled often eating cooked dishes made of it “when there wasn’t much else in the fridge.”  Sallet is an old English word that means “cooked greens,” not to be mistaken for “salad,” but in fact, White’s record company did just that when they changed his song from “Poke Sallet Annie” to “Polk Salad Annie.”  It reached #8 in 1969:  “Down there we have a plant that grows out in the woods and in the fields, looks somethin’ like a turnip green, and everybody calls it poke sallet, poke sallet, used to know a girl lived down there, and she’d go out in the evenings and pick her a mess of it, carry it home and cook it for supper..”

“Butterbean,” The B-52s, 1983

Unknown-69Hailing from the college town of Athens, Georgia, was the quirky punk/New Wave band known as The B-52s, known especially for their dance club classics, “Love Shack” and “Good Stuff.”  Early on, songs like “Rock Lobster” and “Butterbean” were more the order of the day, and the latter celebrated the traditional Southern snack favorite:  “Gramps and grannies, kids in their teens, junkyard dogs and campus queens, yeah, everybody likes butterbeans… Pass me a plate-full, I’ll be grateful, 1-2-3-4, pick ’em, hull ’em, put on the steam, that’s how we fix butterbeans…”

“RC Cola and a Moon Pie,” NRBQ, 1972

Unknown-70NRBQ (New Rhythm & Blues Quartet) was a Kentucky-based band founded in 1966 that merged rock, pop, jazz, blues and Tin Pan Alley styles, playing mostly small clubs but occasionally opening for bigger bands like Poco or R.E.M.  A concert favorite was “RC Cola and a Moon Pie,” an old Bill Lister tune from the Fifties about Royal Crown Cola (a regional competitor of Coke and Pepsi) and a Moon Pie (essentially a s’more — two graham crackers with marshmallow in between, covered in chocolate).  It was known as “a working man’s lunch” throughout the South:  “I don’t want no cornbread, and I can do without peas and rice, I don’t want no carrots or no real hot pizza slice, but everything’s gonna be all right with an RC Cola and a moon pie…”


Honorable mention:  “One Bad Apple,” The Osmonds, 1971;  “Tangerine,” Led Zeppelin, 1970;  “Strawberry Fields Forever,” The Beatles, 1967;  “Tupelo Honey,” Van Morrison, 1971;  “Sugar Sugar,” The Archies, 1969;  “Blueberry Hill,” Fats Domino, 1957;  “30,000 Pounds of Bananas,” Harry Chapin, 1974;  “Dixie Chicken,” Little Feat, 1973;  “Buttered Popcorn,” The Supremes, 1961.