Every couple has a certain love song that they claim as their own. And with Valentine’s Day approaching, these songs are likely getting a bigger level of play.
But there are also love songs that no one touches except to make a list of the 10 weirdest love songs of all time. And, oh surprise, here is such a list for your listening torture:
“Aisha”: This 1996 Algerian pop song had the most unlikely cover in 2002 when a skinny Belgian teenager called himself Gellieman recorded an English version in a deadpan manner, with a brilliantly awkward dance move.
The video was a minor viral hit when it was first uploaded. Gellieman’s whereabouts today is a mystery, but opinion on the internet of the song remains divided, with some people insisting Gellieman was creating a sly comedy and others insisting he didn’t. was unaware of his incompetence. But perhaps one Reddit commenter made the best observation regarding the audacity of the effort: “This guy has platinum balls.”
“You lose”: Based in Chicago John Terri brought more enthusiasm than talent to his music, and a combination of inadequate vocalization and unsatisfactory songwriting doomed his efforts to secure pop music stardom. However, his underdog vibe was strong enough to briefly pique the interest of Marilyn Manson – he recruited her as the opening act for his Chicago concerts in 1998 and 1999, and she joined him in the 1999 video “God Is In The TV”.
In case you’re wondering why there’s too much limo footage in this video, it’s because Terri was working as a limo driver when she wasn’t recording heartfelt but wonky love songs.
“Love Will Keep Us Together”: Neil Sedaka co-wrote and recorded this track in 1973, but a 1975 cover by Captain & Tennille made it a global favorite. And while there’s nothing wrong with the song on its own terms, there’s plenty wrong with the most infamous cover version involving Mae West and Timothy Dalton in the 1978 film “Sextette”.
West was 84 when the film was made and Dalton was 30 – they were supposed to play the newlyweds, but Dalton can barely keep a straight face as he sings about how his octogenarian bride is “young and beautiful” while West appears to be in his own world and barely recognizes his beauty. Incredibly, it was one of the quietest moments in this cinematic train wreck.
“MacArthur Park”: All right, who left the cake in the rain? by Jimmy Webb the elegy for a dissolved relationship became the ultimate crazy 60s pop song, with bizarre lyrics, overcooked orchestrations – dig that groovy harpsichord opening – and a gargantuan 7 minutes and 21 seconds spanning four movements.
But, of course, it is Richard Harris to frost this rain-soaked cake. As a Financial Times columnist James Ferguson observed, Harris brought the “most singularly unsingular voice up to by Lee Marvin explosive interpretation of ‘Wand’rin’ Star’ a few years later, catching up with nerve for what he lacked in technique… He croaks and he sighs, he emotes and he declaims, but he doesn’t sing. (And he constantly mispronounces “MacArthur” as “MacArthur’s.”) There are high notes he has no hope of hitting, but, my word, he tries. »
“Mommy Will Bark”: Frank Sinatra was at the low point of his career when he recorded this new song from 1951 with Dagmar, a curvaceous starlet who was popular in the early days of television. The duo imagined Sinatra and Dagmar as canine lovers struggling to maintain their relationship despite her mother’s displeasure.
While the song peaked at No. 21 on the Billboard singles chart, most Sinatra historians have considered “Mama Will Bark” to be his worst recording. Old Blue Eyes agreed, joking that “the only good it did me was with the dogs”.
“Midnight at the Oasis”: folk singer Maria Muldaur became a one-hit wonder in 1974 with this funky oddity where she sings about seducing her lover in a desert oasis while insisting “I’ll be your belly dancer, prancing, and you can be my sheik.”
The song’s often bizarre lyrics – where else can you hear lines like “Send your camel to bed” and “Cactus is our friend”? – paired with Muldaur’s distinctive vocal style made him an AM radio favorite in the mid-1970s, and those who survived the decade that good taste forgot mostly laugh today when reminded of his goofy excesses .
“Neanderthal Man”: It was never meant to be a marketed song – musicians Eric Stewart, Kevin Godley and Lol Cream were testing new recording equipment at Strawberry Studios in Stockport, England in 1970 and produced a ditty consisting mostly of the chanted refrain “I’m a Neanderthal man, you’re a Neanderthal girl, let’s have Neanderthal love in this Neanderthal world”. ”
In the ultimate show biz story, Dick Leahy of Phillips Folders heard the test recording and offered to release it as a single. The trio quickly named their act Hot legs (from a shapely young woman who worked in their studio) and “Neanderthal Man” reached number two on the UK charts. Hotlegs would later become 10ccwho recorded more serious music.
“Put your feet in the wedding cake”: Wedding songs are a cherished subsection of the love song genre, blending syrupy lyrics with deeply emotional sentiment to musically frame a cherished ceremony. But don’t tell that to Hotel Faux Pasa St. Louis-based indie pop band whose “Put Your Feet in the Wedding Cake” brings anarchy to the party.
With crude lyrics such as “goose the mother of the bride, give the bride a French kiss”, it’s the ultimate wedding song for nihilists and gleeful horror for those who fear the worst-case scenario when their best day.
“We are in love”: Obsessive bullying isn’t usually seen as funny – especially to those who are victims of such behavior – but don’t tell the show hosts that. BM Kidswho has insect rabbit being pursued relentlessly by a frightening lover Rabbit Lola despite his insistence that his presence is not welcome.
While anti-social behavior was a running gag in classic Merry Melodies cartoons – with TNT sticks and anvils used to stamp out stupid opponents – Lola’s spying on Bugs’ phone calls and holding a vigil outside his house is a little too close to the reality of life and, therefore, more problematic than the slapstick romanticism of Pepe Le Pew. After listening to the song, one can only express laments for poor Bugs.
“Why don’t we do it on the road? » : The concept of open-air copulation in the middle of an artery has rarely been addressed in music, but this notion has struck Paul McCartney when he spotted a pair of monkeys making love on a road during his trip to India in 1967. Running just one minute and 41 seconds, “Why don’t we do it on the road?” was the second shortest of the songs on 1968’s “The Beatles” album (aka The White Album).
McCartney and Ringo Star were the only Beatles involved in the recording, with John Lennon and george harrison busy working on other leads. Lennon would later claim that he was unhappy not to be involved in the recording, noting that he “always got hurt when Paul dropped something without involving us”.
Pictured: Mae West and Timothy Dalton in ‘Sextette’, courtesy of Cinema Crazed.
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