Oh Lord, please don’t let me be misunderstood

Our sense of hearing is, to say the least, imperfect.  Depending on how closely we’re listening, how clearly the speaker or singer is enunciating, and whether there’s extraneous music or other sounds, we fairly often mishear what’s being said or sung, and we conclude incorrectly what we think we heard.

The official term for this is a mondegreen, coined by American writer Sylvia Wright in 1954.  As a young girl, she enjoyed listening to her mother read aloud from a book of 17th Century Scottish poems, one of which included the line, “They had slain the Earl of Moray and laid him on the green.”  Wright incorrectly heard this as, “They had slain the Earl of Moray and Lady Mondegreen.”  Even after she learned of her error, she decided she preferred her version, and chose to call this phenomenon a mondegreen.

Probably the most famous example of misunderstood rock music lyrics is in Jimi Hendrix’s hit “Purple Haze.”  The correct words are: “‘Scuse me while I kiss the sky,” but many people insist they hear “‘Scuse me while I kiss this guy.”  A guy named Gavin Edwards even published a book of misunderstood lyrics in 1995 that uses the Hendrix mondegreen as its title.

Another amusing mondegreen that’s mentioned now and then is in Creedence Clearwater Revival’s 1969 song “Bad Moon Rising,” where “There’s a bad moon on the rise” is hilariously misinterpreted as “There’s a bathroom on the right.”

There are many more examples of misheard rock lyrics from not only the ’60s, ’70s and ’80s, but from the ’90s and up to the present day.  Some of these seem far-fetched; I doubt anyone really hears “She moves in mysterious ways” and thinks it’s “Shamu, the mysterious whale.” Ditto Billy Joel’s “You may be right, I may be crazy” being somehow interpreted as “You made the rice, I made the gravy…”

There are also purveyors of parodies — artists like Weird Al Yankovic and Bob Rivers who have come up with a whole song’s worth of whimsical lyrics to go with an original song’s melody. (Queen’s “Another One Bites the Dust” becomes “Another One Rides the Bus”). If some of these seem a bit forced or contrived, well, perhaps that’s the point.  It’s all in good fun.

Some mondegreens, of course, are lyrics that have been intentionally misread for comedic effect. Charles Grosvenor Jr. published a book in 2007 with the catchy title, “Hold Me Closer, Tony Danza,” a deliberate misreading of the 1971 Elton John-Bernie Taupin lyric, “Hold me closer, tiny dancer.”

I’ve seen dish towels and sweatshirts bearing clever words designed to satirize well-known songs. Here’s an example: The Eurythmics’ 1983 hit “Sweet Dreams Are Made of This” offers these lyrics: “Sweet dreams are made of this, who am I to disagree, I travel the world and the seven seas, everybody’s looking for something…“ But the dish towel reads: “Sweet dreams are made of cheese, who am I to dis a Brie, I cheddar the world, and a feta cheese, everybody’s looking for Stilton…

Let’s get back to mondegreens.  It has happened to everybody at one time or another — you think you know the words that are being sung, and then find out later (sometimes many many years later) that you have been mistaken.  For nearly four decades, I swear I thought the words to The Monkees’ smash hit “I’m a Believer” included the line, “When I needed sunshine on my brain.”  Turns out Micky Dolenz was singing, “When I needed sunshine, I got rain.”  Who knew?  Not me.

When Don Henley sings The Eagles’ classic ballad, “Desperado,” the first verse includes the line, “you’ve been out riding fences for so long now…”  But some listeners claim they thought the line was, “You’ve been outright offensive for so long now…

It’s pretty damn obvious that the opening line of the theme song to the 1984 film “Ghostbusters” is “If there’s something strange in your neighborhood, who you gonna call?  Ghostbusters!”  Still, some wise guys prefer to think he’s singing, “Who you gonna call?  Those bastards!

When Dylan first met The Beatles and offered some marijuana to share, they were wary because they’d never tried it.  Dylan replied, “But what about the line in your song — ‘I get high, I get high, I get high…’?”  They explained that the proper lyric from “I Want to Hold Your Hand” was “I can’t hide, I can’t hide, I can’t hide…”

Here’s a bizarre interpretation of the lyrics to the chorus of Michael Jackson’s iconic 1983 hit “Beat It,” which go: “Beat it, beat it, no wants to be defeated…”  Perhaps this will raise an eyebrow, but some claim they have always sung along this way:  “Heated, heated, no wants a beef fajita…

The Stevie Nicks song “Dreams” from Fleetwood Mac’s “Rumours” LP includes the line, “Thunder only happens when it’s raining,” but some say it sounds like “Thunder’s only half as wet as rain is.”

From the legendary “Stairway to Heaven,” when Robert Plant belts out the couplet “And as we wind on down the road, our shadows taller than our souls,” some listeners sing along incorrectly, “And there’s a wino down the road, I should have stolen what I sold…

In 1963, Bob Dylan sang, “The answer, my friend, is blowing in the wind”… or was it “The ants are my friend”?

When Crystal Gayle sang, in 1978, “Don’t it make my brown eyes blue,” some fans say they thought the words were “Donuts make my brown eyes blue.”

In The Beach Boys #1 hit “Good Vibrations,” the line is “She’s giving me excitations,” not “She’s given me eight citations.”

From The Eagles’ “Hotel California,” the lyric begins, “On a dark desert highway, cool wind in my hair,” NOT “Cool Whip in my hair.”

Smokey Robinson and The Miracles had a big single whose title was “I Second That Emotion,” and yet, someone thought she heard “I suck at that emotion.”

The Police’s early hit “Message in a Bottle” opens with the line, “A year has passed since I wrote my note”… or is it “A year has passed since I broke my nose”?

We all assume The Rolling Stones sang, “I’ll never be your beast of burden,” but maybe it was “I’ll never leave your pizza burnin’…”

We can safely conclude that Madonna was no virgin when she sang, “Like a virgin, touched for the very first time,” but I doubt she was saying, “touched for the 31st time.”

In Nirvana’s megahit “Smells Like Teen Spirit,” is Kurt Cobain singing “Here we are now, entertain us” or “Here we are now, in containers”?

Elvis Presley’s 1969 classic, “Suspicious Minds” begins, “We’re caught in a trap, I can’t walk out”… or is it “We call it a tramp, I can’t walk out”?

In the popular Phil Collins tune “In the Air Tonight,” a few people thought “I’ve been waiting for this moment for all my life” was instead “I’ve been waiting for this snowman for all my life.”

Dobie Gray’s 1973 song “Drift Away” says, “Give me the beat, boy, and free my soul,” not “Give me The Beach Boys, and free my soul…”

Does ’70s rocker Eddie Money have “two tickets to paradise” or “two chickens to paralyse”?

How about R.E.M.’s 1991 song “Losing My Religion”? Are the words “That’s me in the corner, that’s me in the spotlight” or “Let’s pee in the corner, let’s pee in the spotlight”?

In Bon Jovi’s classic “Livin’ On a Prayer,” does he sing “It doesn’t make a difference if we make it or not” or does he sing, “It doesn’t make a difference if we’re naked or not”?

The early Bruce Springsteen tune “Blinded by the Light” includes the line “revved up like a deuce, another runner in the night,” but Manfred Mann’s remake sounds like they’re singing, “Wrapped up like a douche, another loner in the night…”

In “Groovin’,” the Young Rascals song, are they singing about “you and me endlessly” or is it “you and me and Leslie”?

When Toto sings about blessing the rains in “Africa,” are they singing “There’s nothing that a hundred men or more could ever do” OR “There’s nothing that a hundred men on Mars could ever do”?

Pink Floyd’s “Another Brick in the Wall” sings about “no dark sarcasm in the classroom,” but perhaps it’s “no docks or chasms in the classroom…”

How about Abba’s big disco hit from 1977?  “See that girl, watch that scene, diggin’ the dancing queen” or “See that girl, watch her scream, kicking the dancing queen…”

Finally, here’s a mondegreen that just might make more sense than the actual lyric.  In 1968, Iron Butterfly was recording a song called “In the Garden of Eden” after having polished off a gallon of cheap red wine, and vocalist Doug Ingle slurred as he sang, “In-a-Gadda-Da-Vida, baby.”  Some listeners prefer their own interpretation:  “In a glob of Velveeta, baby…”

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There’s even a game out now where teams compete to be the first to identify the correct lyrics for each misunderstood lyric on the playing cards. Lots of fun!

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Turn on the TV, shut out the lights

Two weeks ago, while researching many dozens of TV theme songs to find the ones that had also made an impact as hit singles on the US Top 40 charts (see https://hackbackpages.com/2025/03/14/believe-me-the-sun-always-shines-on-tv), I was reminded of how much really great music has been featured to accompany main title sequences during shows’ opening credits.

Some of it was written as instrumental music expressly for the show in question. In some cases, the music already existed, written and recorded by alt-rock bands and off-the-beaten-path artists and then discovered by TV series producers who wanted one of these tunes for their new series.

It’s been my observation that more recent programming (since, say, 1990) has featured really compelling songs or instrumental themes, much more so than in the ’60s, ’70s and ’80s, whose theme music might have nostalgic value but perhaps isn’t really all that great musically.

Below I have assembled a dozen of my favorite examples of excellent TV music themes. Unlike the songs in the above-mentioned blog post, these selections were not heard on the radio, but they grabbed me every time I heard them when watching more recent TV series.

This will conclude my foray into TV music…but you never know. Perhaps some of my readers think there are others I’ve missed that deserve broader exposure. Time will tell.

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“Woke Up This Morning,” Alabama 3, 1997 (theme song for “The Sopranos”)

A 1996 murder case in which a victim of long-term domestic abuse was charged with killing her husband was the inspiration for “Woke Up This Morning,” a song by Rob Spragg, frontman for the British electronic pop/blues group Alabama 3. Found on the band’s 1997 LP “Exile on Coldharbour Lane,” the five-minute track opens as a hip-hop song that uses a Howlin’ Wolf blues loop before diving into lyrics about “a woman who’s had enough and gets herself a gun,” Spragg said. Rocker Steve Van Zandt, who played Silvio on “The Sopranos,” became aware of the song and brought it to producer David Chase’s attention, who agreed it would work (in truncated form) as the show’s theme song. “It’s marvelous,” he said. “It generates anticipation, immediately puts the viewer in a focused frame of mind, and creates the kind of sonic familiarity that breeds audience loyalty.” I’ve loved it since the show’s debut episode in 1999 and was even more intrigued to hear the full album version when I researched its origin.

“Game of Thrones Main Title Theme,” Ramin Djawadi, 2011

You know how, after a while, the opening credits and theme song of a TV series gets tiresome, so you skip it or fast-forward through it? That was definitely not the case for me when I watched “Game of Thrones,” the wildly popular fantasy drama that ran from 2011-2019. Not only was the title sequence an endlessly fascinating three-dimensional map of the series’ fictional world (which won an Emmy for Best Main Title Design), it was accompanied by a compelling, regal-sounding musical piece that I found irresistible. It was written by Ramin Djawadi, an Iranian-German composer of musical scores for numerous films and TV shows, including “Iron Man,” “Westworld,” “Person of Interest” and “Clash of the Titans,” as well as the “Game of Thrones” prequel series “House of the Dragon.”

“The Luck You Got,” The High Strung, 2005 (theme song for “Shameless”)

A Detroit-based band called The High Strung relocated to Brooklyn around 2000 and have released more than 15 LPs, embraced by a small but loyal following. In 2010, when TV producers got the green light to create a US version of the acclaimed British TV series “Shameless,” they happened upon “The Luck You Got,” a high-energy pop/rock track from The High Strung’s “Moxie Bravo” album from 2005. They decided it perfectly captured the chaotic atmosphere of the Gallagher family household and the edgy storylines of its characters. A one-minute version was used effectively in the title sequence, which shows family members parading in and out of the bathroom using the toilet, tending to an injury, brushing teeth and having sex. I’ve enjoyed discovering the full-length version of “The Luck You Got” (still only 2:48) and other music by this group, who are still active today. The show lasted ten years on Showtime (2011-2021).

“Dexter Main Title,” Rolfe Kent, 2006

British film score composer Rolfe Kent moved to Los Angeles in the late 1990s and has become an accomplished writer of theme music and scores for dozens of movies, from “The Wedding Crashers” and “Legally Blonde” to “Mean Girls” and “About Schmidt.” In 2004, he was nominated for a Golden Globe for his original score for the award-winning film “Sideways,” which ended up paving the way for Kent’s involvement in composing the theme song for the Showtime TV series “Dexter” (2006-2013). He was nominated for an Emmy for the way the piece uses eclectic instruments like bouzouki, sax and tambour alongside electric piano, ukulele and strings to convey the alternating hot/cold nature of the lead character. It has since been used in sequels and prequels as part of a growing “Dexter” franchise in recent years.

“Who By Fire,” Leonard Cohen, 1974; Liz Phair, 2022 (theme song for “Bad Sisters”)

Based on the Belgian TV series “Clan,” this acclaimed Irish black comedy series debuted in 2022 and won multiple awards from Irish and British film academies in 2023 before Apple TV began streaming its two seasons for US audiences. “Bad Sisters” is a deliciously complicated story of four siblings who conspire to kill the malevolent husband of one of them, but things go wrong during multiple attempts. The producers found this somewhat creepy Leonard Cohen song from his 1974 LP “New Skin For the Old Ceremony,” which he had written following his experience performing for battle-weary soldiers during the 1973 Yom Kippur War in Israel. Sharon Horgan, who developed, wrote and stars in the series, recruited alternative rock singer Liz Phair to collaborate with composer/arranger Tim Phillips to record their own version of Cohen’s “Who By Fire” for use as the main title theme for “Bad Sisters,” which I found very appealing.

“The X-Files Main Title Theme,” Mark Snow, 1993

Mark Snow has written themes for hundreds of shows and TV films over the past four decades: “Hart to Hart,” “Starsky & Hutch” and “Smallville,” to name just a handful. His best known work is the eerie theme music for the popular science fiction series “The X-Files,” which debuted in 1993. Snow said the song’s famous “whistle effect” was inspired by a 1985 song by The Smiths called “How Soon is Now.” On Snow’s LP “The Truth and The Light: Music from The X-Files,” the Main Title Theme is entitled “Material Primoris” and runs 3:22, although on the show it lasts less than a minute. It was released as a single in 1996 in the UK and some European countries, and had modest chart success there. I have used the “X-Files” music as part of a spooky soundtrack for a haunted house I used to host each Halloween.

“Red Right Hand,” Nick Cave and the Bad Seeds, 1994 (theme song for “Peaky Blinders”)

One of Australia’s longest-lasting exports in the rock music industry, if not its most successful, has been Nick Cave and the Bad Seeds, who, since 1983, have developed a fiercely loyal following in the US alt-rock community, especially since 2000. In 2013, a mesmerizing track called “Red Right Hand” from the group’s 1994 LP “Let Love In” was selected to be the theme music for the violent British period drama series “Peaky Blinders,” which ran from 2013-2022. Cave said the song’s title came from John Milton’s poem “Paradise Lost,” referring to “the vengeful hand of God.” The music evokes a certain dread that mirrors the intimidating vibe that dominates the gangster story line. “Red Right Hand” is now considered one of Cave’s signature songs, which he still performs regularly in concerts.

“Theme From Northern Exposure,” David Schwartz, 1990

Schooled at music schools in New York and Boston, David Schwartz in the ’80s, David Schwartz went on to create theme music for several highly rated shows, including “Deadwood,” “Beverly Hills 90210,” “Arrested Development” and “The Good Place.” His most memorable music was created in 1990 for the quirky drama “Northern Exposure,” which ran for five seasons and won the Best Drama Series Emmy in 1992. Schwartz’s Zydeco-inspired theme was nominated for a Grammy that year, reaching #15 on the Adult Contemporary chart. It’s nice to finally hear the full-length treatment of the song instead of just a 30-second snippet.

“Where Everybody Knows Your Name,” Gary Portnoy, 1982 (theme song for “Cheers”)

Most of the music I’m featuring in this blog piece are from more recent TV shows, but I’ve always been partial to the welcoming strains of the “Cheers” theme song, which dominated the Nielsen ratings for most of its 11-year run (1982-1993). Gary Portnoy and Judy Hart-Angelo had written music and lyrics for an off-Broadway play called “Preppies,” and the songs appealed to Glen and Les Charles, the producers of “Cheers.” They commissioned the duo to write a theme for their show, and their first draft had lyrics with specific reasons why people might want to frequent a regular Boston pub: “Singin’ the blues when the Red Sox lose, it’s a crisis in your life, /On the run ’cause all your girlfriends wanna be your wife, /And the laundry ticket’s in the wash…” The songwriters were asked for more generic words and came up with: “Makin’ your way in the world today takes everything you’ve got, /Takin’ a break from all your worries sure would help a lot, /Wouldn’t you like to get away?…” A 2013 TV Guide poll picked “Where Everybody Knows Your Name” as the greatest TV theme ever.

“Theme From thirtysomething,” W.G. Snuffy Walden, 1987

Walden was a guitarist who worked and toured in England with such groups as Free and the Eric Burdon Band and also pursued solo performing opportunities. In L.A., he was approached by TV and film producers to write theme music, “and I could see the writing on the wall regarding the grind of touring. I kept envisioning being in Holiday Inns at age 60.” His first gig in this new discipline was for “Thirtysomething,” the smartly written baby boomer drama series that debuted in 1987. It’s a warm, melodic theme for acoustic guitar and piano, and it earned him an Emmy nomination and future assignments to write theme music for “The Wonder Years,” “Roseanne,” “The West Wing” and “Friday Night Lights,” among others.

“Tossed Salad and Scrambled Eggs,” Frasier, 1993

When the producer of the “Cheers” spinoff show “Frasier” went searching for an appropriate piece of music to serve as the show’s theme song, they decided they wanted something sophisticated and jazzy. They contacted Bruce Miller, an orchestral arranger and composer of dozens of themes for TV series like “Designing Women” and “Wings,” who teamed up with lyricist Daryl Phinnessee. Said Miller, “They told us ‘Don’t mention Seattle, or the name Frasier, or psychiatrists, or anything having to do with the show, but make it germane to the show.” Phinnessee came up with the clever “Tossed Salad and Scrambled Eggs” metaphor for “things that are mixed up, like Frasier’s phone-in callers.” Kelsey Grammar leapt at the chance to sing the theme himself. “I loved the lyrics. Frasier’s always discovering that life is confusing and is going to surprise him, but he’s going to figure it out,” he said about his character. “‘I got you pegged,’ he sings. It’s gonna be okay. That’s what I liked.”

“A Beautiful Mine,” Aceyalone with RJD2, 2006 (theme song for “Mad Men”)

Beginning in 1995, an L.A.-based hip-hop artist named Eddie Hayes Jr., better known by his stage name Aceyalone, became a proponent of “left-field, double-time” hip hop at a time when the harsher gangsta rap was in vogue. In 2006, he combined forces with ambient hop-hop producer Ramble Jon Krohn, known in music circles as RJD2, to create their widely praised “Magnificent City” album. On the five-minute closing track, “A Beautiful Mine,” Aceyalone riffs his way through his rap message. A couple months later, RJD2 released “Magnificent City Instrumentals,” which featured no-vocals versions of the tracks, and “A Beautiful Mine” perked up the ears of “Mad Men” producer/creator Matthew Weiner the same year, and from that, a 40-second edit of it became the show’s title sequence theme music.

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I mentioned “nostalgic” TV themes — those that announced shows from long ago that bring back great memories more than their intrinsic musical worth might merit. Here are a few from that category that come to mind for me: “Get Smart“; “My Thee Sons“; “WKRP in Cincinnati“; “The Dick Van Dyke Show“; “Top Cat“; “M*A*S*H“; “Mary Tyler Moore“; “I Love Lucy.”

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