Say what you want about the song "Popcorn", it's an amazing pop culture artifact if only for its longevity and international success. The song was a hit literally around the world from Ireland to the Ukraine to Taiwan. Unfortunately for the composer, Gershon Kingley, a lot of the time foreign bands were covering the song with no royalties paid. "Popcorn" simply crossed too many borders to keep track of!
It has historical significance since it was one of the first examples of a successful synth pop song. Kingsley wrote it in a whopping 30 seconds, and put it on an album Music To Moog By (1969), which easily could have gone unnoticed along with so many other "Music to (fill in the blank)" albums of its ilk..
Upon its release in 1972 by Hot Butter, literally hundreds of cover versions sprouted up around the globe. This site has a pretty good list of them chronologically, with audio clips. WFMU has 79 versions of the song as well. The song was used in a variety of media: several films [see Shriek of the Mutilated (1974)], the Digger video game in 1983, a Pampers commercial in 2001, etc.
This sound clip is from a version by Klaus Wunderlich
What about the song's composer? Well, Kingsly was born in Berlin but fled to Palestine (in an area that would later become Israel) with the rise of Naziism and worked on a kibbutz. He taught himself piano and came to America to attend Juliard. When he was declined, Kingsly instead graduated with a degree in music from the L.A. Conservatory of Music. Gershon Kingley is in the front row (image source).
It wasn't long before Kingsley hit it big on Broadway. He was directing and was making waves as a composer for the theater, particularly the Jewish productions. But the real history begins when Kingsley starts messing around with the moog and putting together some experimental sounds. The 1966 album The In Sound from Way Out contained the typical bachelor pad hi-fi space-age weirdness. The sound clip is from the song "Spooks In Space".
Dig the press release from Vanguard Records:
It's electronic sound of pop music from the future. A sample of the strange new pleasure of a world which belongs to the space age. A sample of the electronic "Au Go Go" that might be heard soon from the juke boxes at the interplanetary way stations where space ships make their rest stops.
Madison Avenue was chomping at the bit to get Kingsley's sounds into their commercials. Soon, he was composing sounds for everybody from Coca-Cola to Hanes stockings to Aquanet. Here's a clip from a Luden's Cough Drop commercial:
Riding high on the subsequent success of "Popcorn", Kingsley then began to move away from the moog. He'd made space age pop accessible to the masses, and now was moving on to greener pastures in standard classical music.
Of interesting note to Retrospace readers: Kingsley composed the soundtrack for Silent Night, Bloody Night (1974) and the theme music for the game show Jokers Wild. The Jokers Wild theme was called "The Savers" and can be heard here. The music was replaced in 1974 by an Alan Thicke composition called "Joker's Jive". Yes, that's right, we just connected the dots from a 1930's Palestinian kibbutz to the dad on Growing Pains. You can thank me later.
How audacious could disco get? Look no further than "I Lost My Heart to a Starship Trooper" from 1978. It's an incredible piece of space disco which blends science-fiction and sexual innuendo to their tackiest extreme. I don't know how many lines of cocaine it took to write this song, but the end product stands as a perfect example of disco gone wild. This is dance music crazier than a shit house rat.
Take a good long look at these lyrics. Shiza Minelli, they're awful!!
Hey, Captain Strange, won't you be my lover? You're the best thing that I've ever discovered. Flash Gordon's left me - he's gone to the stars And evil Darth Vader has me banished to Mars
Tell me, Captain Strange, do you feel my devotion? Or are you like a droid, devoid of emotion? Encounters one and two are not enough for me What my body needs is close encounter three
Courtesy of WFMU, click here and listen to the song or the media player below.
And check who the singer is. Sweet Lincoln's mullet! It's sung by Sarah Brightman! The best-selling female classical artist of the twenty-first century, the the world's biggest selling soprano of all time!
I find it nothing short of amazing that the same lady who sang "Con te partirò" with Andrea Bocelli, one of the most beautiful songs ever written, also sang the words "Take me, make me feel The Force" to a disco beat.
Brightman was once a member of the dance troupe, Hot Gossip. We in the States had the raunchy Solid Gold Dancers, and in the U.K. they had the slightly less raunchy Pan's People. However, the Brits also had another group of raunchy dancers called Hot Gossip, who put them both to shame. You can go here to download a one hour special called The Very Hot Gossip Show, one of the highest rating shows for Channel 4 that year (big surprise).
From a British Solid Gold Dancer to a world renowned soprano... pretty impressive, I'd say!
See also: Why disco died: Reasons 1-20 I also recommend this page, entirely devoted to this one song
In 1967, director Joe Massot went looking for a band to compose the soundtrack to his new film Wonderwall, starring Jane Birkin. The Bee Gees and Graham Nash wanted the opportunity, but fate put Massot at the grand opening of the Beatles' Apple Boutique where he found just the man for the job - George Harrison.
George was the only Beatle at this point who hadn't worked independently on a film. Paul had scored Haley Mills' The Family Way, John had acted in How I Won the War, and Ringo was appearing in both Candy and The Magic Christian. Naturally, George was very receptive to Massot's request.
George commissioned a band called The Remo Four to be his studio musicians. Sadly enough, the band was on the verge of breaking up and had been dropped by two labels. However, they were known as good studio musicians, were managed by Brian Epstein, and one member, Colin Manley, was a former schoolmate of Paul McCartney at the Liverpool Institute for Boys. The group fit the bill perfectly. Eric Clapton was also called in to augment the group, although his work on the album is uncredited.
The movie premiered on November 1, 1968. It was an incredibly stylized, surreal psychedelic work and never gained much mass appeal - it was never released in the States either. George's soundtrack was purely instrumental and contained heavy Indian influences. It was the first release on the newly formed Apple label, and the first official solo album by a Beatle; but, wasn't much of a commercial success. It wasn't long before both the movie and its soundtrack were completely forgotten.
Thirty years later, Massot took a look at the old Wonderwall tapes and discovered that there was a beautiful piece of psychedelic pop called "In the First Place" that had not been included in the film score, since it contained vocals! Massot quickly contacted George Harrison to get the OK to include it on the re-release of Wonderwall. George agreed, but only on the condition that The Remo Four be given credit.
What a great find this is. "In the First Place" sounds like it would fit in perfectly with the rest of the tracks on the Magical Mystery Tour LP. If you like "Blue Jay Way", "Only a Northern Song", "It's All Too Much" and "Within and Without You", this may be right up your alley. I, for one, am thankful Massot rescued this near perfected psychedelic gem.
“I forbid you maidens all that wear gold in your hair To travel to Carterhaugh, for young Tam Lin is there" - Tam Lin [traditional ballad]
Well, I was doing a little research for songs about Halloween for a post and came across "Ten Halloween Songs That Aren't as Lame as the Monster Mash" by Blog Critics Magazine. I was extremely pleased and at the same time dismayed by the list.
Pleased because it is better than any list I could come up with. Dismayed because it is so good that there's no longer any point for me make a list.
I will comment, however, on the song that tops their list - Tam Lin.
In this blogger's humble opinion, "Tam Lin" is so incredible, so hauntingly magnificent that it renders any other Halloween song inconsequential. The song is at least as old as 1549 (when it was mentioned in The Complaynt of Scotland) and tells of midnight riders and fairy queens on Halloween night. The best version that I've heard is by the English folk band, Fairport Convention.
Now, maybe English folk is not your cup of tea. I can understand that it may be an acquired taste. I'm more of a Foghat kinda' guy myself, but can still appreciate the splendor of this recording. What makes the song so great, so much so that I have basically gushed praise for the last two paragraphs?
First, there's the singing prowess of Sandy Denny. She recorded this song a couple days before Halloween in 1968, and the spirit of the season certainly shines through. Many may recognize her vocals from Led Zeppelin's "The Battle of Evermore", and it is undeniable that she has one of the best voices in contemporary music.
The antiquity of the song gives it a certain degree of mystery as well. Indeed, there is supposedly a spot of ground in Scotland where grass will not grow - where 3 containers of milk or water stood where Janet dipped her lover to turn him back to a human.
Also, I will add that the lyrical quality reads like great literature and elevates the song even further.
"But tonight is Halloween and the fairy folk ride Those that would let true love win at Mile's Cross they must bide"
Add to the mix the incredible guitar of Richard Thompson, and you've got yourself one helluva Halloween song!
For a much more in-depth (and far superior) analysis of "Tam Lin" go here and here. You can get lost in the history and mythology of the song- to see how complex the analysis of the song can be, go here and here where the storyline and history is plotted in excruciatingly intricate detail.
At the 1975 CMA ceremony Charlie Rich was supposed to announce the Entertainer of the Year Award. Instead of reading the name of the winner, John Denver, Charlie pulled out a cigarette lighter and lit fire to the envelope.
What a dick move.
John Denver has been unjustly maligned over the years, and it is really a sad shame. Denver's music was obviously from the heart, and spoke to some inner longings deep within all of us - for the simple life, for a less materialistic life, for the pleasures of nature. I think the artsy fartsy types hated it because it often happened to be wholesome (eegad!). At least Charlie Rich had an excuse - he was drunk off his ass.
Denver could be wholesome as in "This Old Guitar", but he was also brilliant at capturing the majesty of nature. "The Eagle and the Hawk" is perhaps his best example at doing just that.
In "Rocky Mountain High", Denver proclaims his regret at man's destruction of nature, and his delight at the joy which nature can bring.
And the Colorado rocky mountain high I've seen it rainin' fire in the sky I know he'd be a poorer man if he never saw an eagle fly Rocky mountain high
Do you remember that anti-pollution ad with Chief Iron Eyes Cody? I think it was so effective because it was so true - deep down we know what we are doing is not right.
This is a blog and not a public service announcement, so I'll refrain from pontificating. However, I will say that Gordon Lightfoot touches the subject of man's disconnect with nature in "Seven Island Suite" better than any song ever written. Jethro Tull's entire Into the Woods LP doesn't compare to one stanza of Lightfoot's masterpiece.
Living high in the city, guess you think it's a pretty good way You get to learn but when you get burned you got nothing to say You seem to think because you got chicken to go you're in luck Fortune will not find you in your mansion or your truck Brothers will desert you when you're down and shit out of luck
Laugh at Lightfoot all you want for his "Wreck of the Edmund Fitzgerald", Gordon in his Sundown days kicked some ass. In "Seven Island Suite" he rejects all the hollow frills that life in the city has to offer. But what's the alternative to modern day materialism? Lightfoot has the solution:
It's time you tried living on the high side of the bay, you need a rest Any woman or a man with a wish to fade away could be so blessed
He's not talking about a trip to the Hamptons. It sounds cliche, but he's talking about a trip inside yourself - and the only way your going to find yourself is by getting out of the fast lane, and taking a stroll amongst the trees....
"Twas in the darkest depths of Mordor, I met a girl so fair, but gollum, and the Evil One crept up and slipped away with her." These lyrics are, of course, from Led Zeppelin's "Ramble On", one of the best songs inspired by a work of fantasy (The Lord of the Rings).
Another great song in a similar vein is "Cthlu thlu" by Caravan, based on the Cthulhu mythology of H. P. Lovecraft. (I realize my last "2 Songs About..." post also had a Caravan song, so it may appear I'm some sort of die hard Caravan fan. Not at all. In fact, I hereby ban any further mention of Caravan on retrospace.)
In case there's one of you left out there that hasn't seen the incredible "Bilbo Baggins" video by Leonard Nimoy, here's my gift to you. You owe me one.
Hard to believe the guy who composed this song also did the arrangements for Nat King Cole's "Christmas Song". Great fun, extremely campy, but a horrible song all around nonetheless; only a tad better than Pink Floyd's "Gnome".
Moving on to an excellent example of a song based on works of science fiction is "Down in the Park" by Gary Numan (then in Tubeway Army). You probably remember him from his robotic 80's hit "Cars". The song was inspired by the dystopian fiction of Phillip K. Dick and William S. Burroughs, and you won't find a more depressing and disturbing song. It includes a description of a rape machine.... not exactly tailored for Casey Kasem's top forty countdown!
Well, I can't leave you on such a downer. So, let's pep the room up a bit with a song from Finland's Mainostelevisio. It has a sci-fi stage set, but otherwise has nothing to do with fantasy or sci-fi novels. However, it's so insanely bizarre that it may as well be from another planet. Enjoy.
3 observations: (1) the girl looks like Dana Plato, (2) dancing is not one of the strengths of the people of Finland, and (3) the song is mind numbingly bad, yet disturbingly catchy and will be stuck in your head for at least another month.... don't blame me, blame YouTube.
Yes, it's another "2 Songs About" post. Maybe my least popular topic, but I'm easily amused, and find these extremely fun to do. These 2 songs each have a sport included in their title, but aren't necessarily about the sport itself.
1. "Golf Girl" by Caravan
This should also fall under the "sinfully underplayed" label since it's a great song that few have heard of. In fact, I think most prog rock from this period is so foreign and completely inaccessible to modern day listeners that it has faded into oblivion only to be enjoyed by a small fringe of rock snobs. (I must add, however, there is an entire XM Satellite Radio channel devoted to it, so maybe it's not as forgotten as I think it is.) How many times have you heard your local classic rock station play something by Can, Gentle Giant, Camel or even King Crimson? These bands were so heavily album oriented, with an often complicated theme running throughout the LP that it has not translated well to downloading which favors singles.
However, prog rock is not always about 20 minute guitar solos, complex album themes, and experimental sounds that don't lend themselves to radio airplay. "Lucky Man" by Emerson, Lake and Palmer is proof that prog rock can be somewhat catchy while still maintaining their artistic credibility. Kansas was a prog rock poster child, which later had top 40 hits. I think "Golf Girl" by Caravan also is a pretty melodic little tune, but at the same time has that prog rock trademark of being just a bit artsy and experimental. The best version of the song, in my opinion, is the one from the All Over You LP.
This odd little ditty by Eric Clapton and artist Martin Sharp contrasts with most of Cream's recordings, but is enjoyable nonetheless. Perhaps more enjoyable is the video of a heavily stoned Clapton and bongo playing Ginger Baker with cigarette dangling from mouth. If you can make it halfway through the song, you'll notice things begin to change and get a bit weird. The audience seems to find Clapton and the boys quite hysterical. Enjoy.
Here's a couple albums I love which have a sports theme. (And, don't be looking for the two Huey Lewis albums, Fore and Sports, they ain't here.)
A few weeks ago, I created a post called "2 Songs About Dogs". I don't know how many people care for this sort of thing, but I had fun making it and so I thought I'd do another "2 Songs About..." themed post.
A reservation I had was that my tastes can be a bit off the beaten path, thus making my posts appealing to virtually no one. However, if you will recall my statistic from another post, well over 90 percent of blogs are written by pimply faced teenagers who could give a shit about The Starland Vocal Band, and the remainder are basically soccer moms posting pictures of newborns. In other words, the very fact that this blog exists at all is an oddity that is destined for the fringe.
So without apology, I bring you two of the dirtiest songs to come out the dirtiest decade, the 1970's.
If you remember, I created a post called Sex, Love and Custom Vans a while back. I discussed at length the free love culture of that decade and how Sammy Johns' music just epitomized it. Thankfully, Taleisin was kind enough to direct me to where this long lost soundtrack could be located: The Manchester Morgue blog. Buried in this forgotten time capsule is the wonderful track "Early Morning Love". It's played several times during the course of the film, The Van, and perhaps surpasses his hit "Chevy Van" in terms of representing perfectly the hippie free love mentality.
Next up is what else but "Afternoon Delight" by The Starland Vocal Band. I'm reminded of a hilarious scene on the show "Arrested Development" where Jason Bateman's character karaokes to the song with his young niece. Suddenly it begins to dawn on him how incredibly sexual the song actually is, and he quickly aborts the whole performance. Of course, another great pop culture moment revolving around "Afternoon Delight" is the spot-on a capella performance by Will Ferrel and friends in Anchorman: The Legend of Ron Burgundy. Anyway, here's The Starland Vocal Band dishin' up the raunchy filth:
Update (1/19/09): Believe it or not, I've found yet another opportunity to bring up this Sammy Johns song. Check out 3 Pop Gems from Forgotten Films
I just read on Caslon Analytics that 92.4% of all blogs are created and read by people under 30. So, here's goes yet another post that will appeal to less than 7.6% of the blogosphere.
I just wrote a post on some great psychedelic songs which reminded me of one of the strangest and enigmatic psychedelic songs ever - "Some Velvet Morning" by Lee Hazelwood. The best version remains the original duet with Nancy Sinatra (1967); subsequent cover versions by Vanilla Fudge, Kate Moss (!) and Slowdive just don't cut it.
So, what's it all about? No one really knows for sure, and that's what makes it so intriguing.
Here's the lyrics. See if you can make heads or tails of it.
Lee: Some velvet morning when I'm straight I'm gonna open up your gate And maybe tell you 'bout Phaedra and how she gave me life and how she made it in Some velvet morning when I'm straight Nancy:Flowers growing on the hill, dragonflies and daffodils Learn from us very much. Look at us but do not touch. Phaedra is my name Lee: Some velvet morning when I'm straight I'm gonna open up your gate And maybe tell you 'bout Phaedra and how she gave me life and how she made it in Some velvet morning when I'm straight Nancy:Flowers are the things we knew. Secrets are the things we grew. Learn from us very much. Look at us but do not touch. Phaedra is my name....
No luck at deciphering it? Let's look at some additional information and other theories, and maybe together we can absolutely over-analyze this song.
In Greek mythology Phaedra killed herself after accusing her stepson Hippolytus of rape. However, this tragic character doesn't seem to fit with Hazelwood's depiction of Phaedra as a lusty nymph- perhaps, he's trying a new contemporary twist to the mythological lady? Reinventing Phaedra for the twentieth century maybe?
Of course, some have attempted to put a strong sexual context to the lyrics: "some velvet morning when I'm straight" (i.e. erect), "I'm gonna open your garden gate" (i.e. intercourse). Also, as the song progresses the male and female parts become more and more co-mingled. Sounds plausible.
If you read the Wikipedia entry you'll wind up more confused than when you started. One explanation is that there actually is no explanation - it's just an abstraction, a nonsensical love song. After all, we're talking about the guy who wrote the lyrics "You keep lying, when you oughta be truthin'" in "These Boots Were Made for Walking".
Maybe the bigger question is why we should care what the hell he's talking about. Well, I guess that depends on what type of person you are. There are those that enjoy The Red Badge of Courage on its own terms, as a good tale in its own right and could give a crap foreshadowing and metaphors. Then there are those (English professors, I'm talking to you) who pick apart every sentence and look for symbolism with each syllable. To them, it's great fun looking for interpretations and hidden meanings - it's a puzzle of sorts. Certain authors (James Joyce's Ulysses and Flannery O'Connor's works come instantly to mind) also take special delight in embedding layers of meaning within their text.
I confess, I fall into the latter category. I love to find meanings in songs and works of literature. The more annotation the better. So, if you're this over-analyzing type, I'm afraid you may never have a satisfactory answer to the meaning behind "Some Velvet Morning". If you're the type to just appreciate a good song and could care less who wrote it and why, then just sit back and enjoy the music video from a 1967 Nancy Sinatra TV special. The rest of us will be wondering what's the symbolism of the horse on the beach.
I'm not a huge country fan nor am I much of a Glen Campbell fan. Nevertheless, "Wichita Lineman" ranks as possibly my favorite song ever recorded. Its unique tapestry of sounds, beautiful melody and lonesome melancholy combine to create what can only be called pure mellow gold. It's even been called the first existential country song (have there been others?). So, consider this post a tribute to this timeless Jimmy Webb masterpiece.
So, let's start with the true original. Glen Campbell on his variety show, bringin' us the goods, many years before he became a Rhinestone Cowboy.
Now that you've seen "Wichita Lineman" as it was meant to be sung, let's look at various covers of the tune - some good, some horrifically awful. The first is from Sergio Mendes & Brazil '66, who covered this song perhaps better than anyone else. Instead of recreating the song, they brought their own unique flavor to it, and I love it. Please don't discount this version outright - give it at least a good thirty seconds of your time. It'll grow on you.
Here we have a moog version of the song. Our song, "Wichita Lineman", is the first track on Nashville Gold: Switched on Moog. For some odd reason, I actually enjoy the moog version. I think it is because the hollow feeling emitted by the moog fits in well with the mood of the song. But be forwarned, I am easily the only living person on the planet that feels this way.
RecordRobot has a good helping of "Wichita Lineman" cover versions. Here's a sampling. I encourage you to browse on over to this awesome blog for a second helping. All Electric Love really has going for it is the cover, but, again, there's a certain something here that I like.
Here's a version by Sammy Davis, Jr. courtesy of RecordRobot. I wonder if this was during his Church of Satan phase. A couple posts back I talked about Sammy and his fling with Beelzebub. But enough about that, here's Sammy doin' what he does best... singing other people's material.
And another...
One of my favorites, possibly simply for its rarity, is a version recorded by Campbell himself with the Stone Temple Pilots. The recording never made it to an album, and all that survives is some grainy black and white footage.
Needless to say, the song's been covered countless times. R.E.M. did a version, and I think the song suits their style, but they really didn't add anything to the song except maybe make it more depressing. Andy Williams and Tom Jones also provided a rendition of the tune, which I'll spare you from. Suffice it to say, there's been plenty of tries to capture the magic of the Jimmy Webb song, but no one has come close to Campbell.
It's fascinating to think that Jimmy Webb's lonely drive down an Oklahoma road in the late 60's would result in a timeless classic and an endless supply of cover versions. I for one am mighty glad he took that trip.
Henry Gross was a founding member of Sha-Na-Na, a 50's revival group who performed at Woodstock and had their own variety show. Gross went solo and became popular enough to warrant a reference from Spidey!
"Shannon" was written about Beach Boy Carl Wilson's dog who had died. The tune may be sappy, but the refrain was beautiful and it struck a nerve with audiences in the mid 70's. Only the most hardened individuals who've ever lost a pet can listen to this without being a little choked up.
Shannon is gone, I hope she's drifting out to sea, She always loved to swim away, Maybe she'll find an island with a shady tree, Just like the one in our backyard.
2. "Martha My Dear" by The Beatles The song is named after and dedicated to McCartney's Old English Sheepdog. I've also heard that it relates to Paul McCartney's one-time girlfriend Jane Asher. I know there's a bunch more good "dog" songs (i.e. "Me and You and a Dog Named Boo" and "Hound Dog"), but these were dedicated to an actual dog. And there's a bunch more really bad dog songs ("Who Let the Dogs Out"), but we must never, never forget...
"Calling Occupants of Interplanetary Craft" has to be one of the strangest and most interesting songs in history. Why, you ask? Let me count the ways:
The song was recorded for World Contact Day- a day where people would collectively try to reach beings from outer space via telepathy!
The song was originally recorded by a band called Klaatu. Interestingly, it was a widespread belief, upon the release of their debut album, that they were actually The Beatles reunited and hiding under the code name Klaatu. Read the 1977 article which started the whole wild rumor going. You can also read more about The Beatles connection on a Good Rockin Tonight post.
The song was made popular by an incredibly unlikely pair - The Carpenters. Known for their sad love songs, The Carpenters and this song seemed a strange fit indeed! Check out the bizarre sci-fi lyrics:
In your mind you have capacities you know To telepath messages through the vast unknown Please close your eyes and concentrate With every thought you think Upon the recitation we're about to sing Calling occupants of interplanetary craft Calling occupants of interplanetary most extraordinary craft You've been observing our earth And we'd like to make a contact with you We are your friends Calling occupants of interplanetary craft Calling occupants of interplanetary ultra-emissaries We've been observing your earth And one night we'll make a contact with you We are your friends Calling occupants of interplanetary quite extraordinary craft And please come on peace, we beseech you Only a landing will teach them Our earth may never survive So do come, we beg you Please interstellar policeman Oh, won't you give us a sign Give us a sign that we've reached you With your mind you have ability to form And transmit thought energy far beyond the norm You close your eyes, you concentrate Together that's the way To send the message We declare world contact day
Try to imagine Air Supply pulling a song from the Hawkwind or King Crimson catalogue. Or maybe Lionel Ritchie singing something by Pentangle or Os Mutantes. It's this strange combination that makes it so fantastic. How about Jim Croce singing something by Pink Floyd, or Captain & Tennille singing something by Black Sabbath, or .... you get the point.
This early music video for the song has to be seen to be believed. Enjoy!
Summer of '71 by Helen Reddy may be my favorite drug reference in popular music simply because it is so unexpected. When Clapton sings about cocaine, no big deal. But when Helen Reddy sings about mescaline, I pay attention.
We're out of our mescaline minds And talkin' 'bout the friends we left travelin' behind And diggin' that we seem to be three of a kind And havin' such a good time
Puff the Magic Dragon used to be a favorite, but Snopes ruined it for me by casting doubt on there actually being a drug reference. According to the Snopes article, this is a patent urban legend, but with lyrics like "little jackie paper loved that rascal puff" I have a feeling that legend is going to be a hard one to dispell.
I Get a Kick Out of You by Cole Porter is another great one because of its age. Although, cocaine was even in soft drinks back then (i.e. Coca-Cola), so maybe it's not that impressive. Still, the wonderful rendition in Mel Brooks' Blazing Saddles is reason enough to like it.
Some they may go for cocaine. I'm sure that if, I took even one sniff it would bore me terrifically too, but I get a kick out of you.