Inspired by a story that the Human League’s Phil Oakley read in a teen-girl’s magazine, Don’t You Want Me is a song not about love but instead a song about two people battling for control. While the song was originally conceived as being a male solo, Oakley made the last-minute decision to turn it into a duet, with Susan Ann Sulley taking on the role of the girl who once worked in a cocktail bar but always knew she was meant for a much better life.
After the song was recorded, Oakley disliked it because he felt that the song’s sound was too “poppy” and he was not happy when Virgin decided to release Don’t You Want Me as the fourth single off of The Human League’s third studio album, Dare! Despite Oakley’s misgivings, Don’t You Want Me went on to become the band’s biggest hit and one of its signature songs.
(As of 2014, Phil Oakley still didn’t think much of the song. In an interview with Classic Pop Magazine, Oakley said, “‘Don’t You Want Me‘ might have shifted gazillions, but either I’ve heard it too many times or the rest of Dare! is just so far ahead that it puts it in the shade. Still, it made the band.”)
Don’t You Want Me was the 1981 Christmas number one in the UK, where it has sold over 1,560,000 copies, making it the 23rd most successful single in the history of the UK Singles Chart. In 2015, in an ITV poll, it was voted the 7th most popular number one single of all time.
“Lyrically it doesn’t mean much but we had some fun writing it.”
— Chris Difford on Hourglass
In the 80s, Squeeze was one of the most popular bands in the UK but they often struggled to find the same success in the U.S. Some of that was because, much like Madness, Squeeze wrote songs that were undeniably British. Their relatively few U.S. hits were also the relatively few Squeeze songs not to feature any obviously British references in the lyrics.
Hourglass, for instance, was largely a nonsense song that had a strong hook and an unforgettable melody. What does “Take it to the bridge, throw it overboard, see if it can swim” refer to? No one knows and it doesn’t matter. Along with being insanely catch, Hourglass also had a memorable music video. The video was popular on MTV and, in the 80s, that usually led to success on the U.S. Charts. Hourglass became on the few Squeeze songs to break into the U.S. Top 40.
The video features the band performing amongst a series of optical illusions. The video was directed by Adrian Edmondson while the Salvador Dali-inspired concept for the video was credited to Squeeze’s keyboardist Jools Holland. Holland would later go on to host Later …. with Jools Holland on BBC Two and has become a British cultural icon.
Marty Robbins’ “Big Iron” is one of those songs that instantly takes you back to the Old West. It’s simple but powerful—a ranger rides into town to face down an outlaw, and you just feel that quiet tension building with every verse. Robbins’ steady voice gives the story a calm, almost cinematic vibe, like a slow pan across a dusty street before the final showdown. It’s storytelling stripped to the bone: two men, one promise of justice, and the air thick with purpose.
What’s cool is how “Big Iron” hasn’t just stayed stuck in the past. It’s popped up everywhere—from memes to movies to, of course, Fallout: New Vegas. That game gave the song a second life as a kind of anthem for wanderers—loners crossing desolate landscapes where myths feel more real than history. There’s something timeless about its message: standing your ground, even when the whole world’s gone sideways.
So when “Big Iron” opens the first episode of Fallout Season 2, it feels like a perfect fit. The familiar twang instantly throws you into that classic Fallout energy—part Western, part apocalypse. It’s not just a fun musical nod; it sets the tone for everything that follows. The song reminds us that even in a broken world, we’re still drawn to stories about courage, justice, and lone figures walking into danger with purpose. Robbins’ ballad might be old, but in Fallout’s world, it feels right at home.
Big Iron
To the town of Agua Fria rode a stranger one fine day Hardly spoke to folks around him, didn’t have too much to say No one dared to ask his business, no one dared to make a slip For the stranger there amongst them had a big iron on his hip Big iron on his hip
It was early in the morning when he rode into the town He came riding from the south side slowly lookin’ all around He’s an outlaw loose and running came the whisper from each lip And he’s here to do some business with the big iron on his hip Big iron on his hip
In this town there lived an outlaw by the name of Texas Red Many men had tried to take him and that many men were dead He was vicious and a killer though a youth of twenty-four And the notches on his pistol numbered one and nineteen more One and nineteen more
Now the stranger started talking, made it plain to folks around Was an Arizona Ranger, wouldn’t be too long in town He came here to take an outlaw back alive or maybe dead And he said it didn’t matter, he was after Texas Red After Texas Red
Wasn’t long before the story was relayed to Texas Red But the outlaw didn’t worry men that tried before were dead Twenty men had tried to take him, twenty men had made a slip Twenty-one would be the ranger with the big iron on his hip Big iron on his hip
The morning passed so quickly, it was time for them to meet It was twenty past eleven when they walked out in the street Folks were watching from the windows, everybody held their breath They knew this handsome ranger was about to meet his death About to meet his death
There was forty feet between them when they stopped to make their play And the swiftness of the Ranger is still talked about today Texas Red had not cleared leather for a bullet fairly ripped And the Ranger’s aim was deadly with the big iron on his hip Big iron on his hip
It was over in a moment and the folks had gathered ’round There before them lay the body of the outlaw on the ground Oh, he might have gone on living but he made one fatal slip When he tried to match the Ranger with the big iron on his hip Big iron on his hip
Big iron, big iron When he tried to match the Ranger With the big iron on his hip Big iron on his hip
Though it may not be a Christmas song, this song from Ringo Starr feels appropriate for the season. Ringo sings for peace and hope in this song and he’s brought along an impressive supporting cast to help him make his case. Among those featured in the song and the video: Paul McCartney & Joe Walsh, Corinne Bailey Rae, Eric Burton, Sheryl Crow, FINNEAS, Dave Grohl, Ben Harper, Lenny Kravitz, Jenny Lewis, Steve Lukather, Chris Stapleton, and Yola.
Here are the 2025 film nominations from the Society of Composers and Lyricists. The winners will be announced on February 6th.
Outstanding Original Score for a Studio Film
LUDWIG GÖRANSSON – Sinners
ALEXANDRE DESPLAT – Frankenstein
JONNY GREENWOOD – One Battle After Another
STEPHEN SCHWARTZ & JOHN POWELL – Wicked: For Good
MAX RICHTER – Hamnet
JERSKIN FENDRIX – Bugonia
Outstanding Original Score for an Independent Film
DARA TAYLOR – Straw
BRYCE DESSNER – Train Dreams
DAVID FLEMING – Eternity
FABRIZIO MANCINELLI – Out of the Nest
JÓNSI & ALEX SOMMERS – Rental Family
SARA BARONE & FOREST CHRISTENSON – To Kill a Wolf
Outstanding Original Song for a Dramatic or Documentary Visual Media Production
DIANE WARREN – “Dear Me” from Diane Warren: Relentless
ALICE SMITH, MILES CATON & LUDWIG GÖRANSSON – “Last Time (I Seen the Sun)” from Sinners
RAPHAEL SAADIQ & LUDWIG GÖRANSSON – “I Lied to You” from Sinners
SARA BAREILLES – “Salt Then Sour Then Sweet” from Come See Me in the Good Light
NIKHIL KOPARKAR & RAMMY PARK – “The Hills of Tanchico” from The Wheel of Time
ED SHEERAN, BLAKE SLATKIN & JOHN MAYER – “Drive” from F1
Outstanding Original Song for a Comedy or Musical Visual Media Production
EJAE & MARK SONNENBLICK – “Golden” from KPop Demon Hunters
STEPHEN SCHWARTZ – “No Place Like Home” from Wicked: For Good
STEPHEN SCHWARTZ – “The Girl in the Bubble” from Wicked: For Good
JACK BLACK & JARED HESS – “Steve’s Lava Chicken” from A Minecraft Movie
MARK RONSON, ANDREW WYATT & JACK BLACK – “I Feel Alive” from A Minecraft Movie
BLAKE SLATKIN, SHAKIRA & ED SHEERAN – “Zoo” from Zootopia 2
Sorry, Wham fans. This will always be a Taylor Swift song to me.
Last Christmas
I gave you my heart
But the very next day you gave it away
This year
To save me from tears
I’ll give it to someone special
Last Christmas
I gave you my heart
But the very next day you gave it away
This year
To save me from tears
I’ll give it to someone special
Once bitten and twice shy
I keep my distance
But you still catch my eye
Tell me, baby
Do you recognize me?
Well, it’s been a year
It doesn’t surprise me
Merry Christmas
I wrapped it up and sent it
With a note saying “I love you”
I meant it
Now I know what a fool I’ve been
But if you kissed me now
I know you’d fool me again
Last Christmas
I gave you my heart
But the very next day you gave it away
This year
To save me from tears
I’ll give it to someone special
Last Christmas
I gave you my heart
But the very next day you gave it away
This year
To save me from tears
I’ll give it to someone special
Oh, oh, baby
A crowded room
Friends with tired eyes
I’m hiding from you
And your soul of ice
My god, I thought you were someone to rely on
Me? I guess I was a shoulder to cry on
A face on a lover with a fire in his heart
A man under cover, but you tore me apart
Now I’ve found a real love. You’ll never fool me again
Last Christmas
I gave you my heart
But the very next day you gave it away
This year
To save me from tears
I’ll give it to someone special
Last Christmas
I gave you my heart
But the very next day you gave it away
This year
To save me from tears
I’ll give it to someone special
A face on a lover with a fire in his heart
I gave you my heart
A man under cover, but you tore him apart
Maybe next year I’ll give it to someone—
I’ll give it to someone special
Special
Someone
Someone
I’ll give it to someone—
I’ll give it to someone special
Who give me something in return
I’ll give it to someone—
Hold my heart and watch it burn
I’ll give it to someone—
I’ll give it to someone—
I’ll give it to someone special
I thought you were here to stay
How could you love me for a day
I thought you were someone special
Gave you my heart
I’ll give it to someone—
I’ll give it to someone—
Last Christmas
I gave you my heart
You gave it away
“Someone who’s in this relationship that they know they shouldn’t be in. It’s this dysfunctional relationship, and they don’t have the strength to get out. And ‘what have I, what have I, what have I done to deserve this?’ – there’s a real sense that they shouldn’t be there, but they’re basically a slave to this obsessive love. It’s one of the few songs of mine that is about that but doesn’t turn itself around and go, ‘I’m leaving here, screw you, go make someone else miserable.’ Usually I don’t just leave it at ‘what have I done to deserve this,’ but it felt right for the group, so that’s what it was.”
— Allee Willis, co-writer of What Have I Done To Deserve This?
Though this song may be out a toxic relationship, I always think of it as being about the showgirl taking off her glasses before going out to dance on stage. That’s the power of a good music video.
This video was directed by Eric Watson, who spent most of his music video career working with Pet Shop Boys, though he also did videos for Samantha Fox, Rod Stewart, and Debbie Harry.
The career path of Adam Sandler — going from making likable comedies like Happy Gilmore and The Wedding Singer to making terrible movies like That’s My Boy to then emerging as one Hollywood’s most dependable dramatic actors — is one of those things that will fascinate (and perhaps confuse) future cultural historians. Myself, I appreciate any actor who can go from being the Razzie Champion to someone who was robbed of an Oscar. It’s probably one of the few things that Sylvester Stallone and Adam Sandler have in common.
I would also point out that Adam Sandler is always at his most likable when he sings about Hanukkah. Here he is with today’s song of the day.