Category Archives: Song of the Day

Song of the Day: Falling In Love (by Aerosmith)

Posted on by Arleigh

Alright, let’s talk about a seriously underrated gem from Aerosmith’s later years: Falling In Love (Is So Hard On The Knees). If you only know the band from their big power ballads, you’re missing out on this side of them. This track is pure, unapologetic fun, and it’s the perfect example of why they’re rock legends. It’s got that classic, bluesy swagger that just makes you want to crank up the volume and strut around the room. Forget the sappy love songs; this is Aerosmith reminding everyone that they are, first and foremost, a rock and roll band that knows how to have a good laugh. The groove alone is so dirty and infectious that you’ll be nodding your head before Steven Tyler even opens his mouth.

And speaking of Tyler, the genius of this song is how it takes the emotional rollercoaster of love and just turns it on its head with a massive dose of humor. He isn’t crooning about a broken heart here; he’s basically throwing his hands up and saying, “This whole love thing is ridiculous!” The title itself is a killer metaphor—love literally brings you to your knees, both physically and emotionally—but the real gold is in the wordplay. Check out the double entendre in lines like “I major in love, but in all minor keys,” which is a clever nod to both musical theory and the melancholy that often comes with romance. And then there’s the absolute classic, “Don’t give me no lip, I’ve got enough of my own,” which works as both a sassy put-down and a sly wink at, well, using your lips for other things in a relationship. It’s self-deprecating, surprisingly clever, and makes light of the universal struggle of romance without ever sounding whiny.

You also have to see the music video, which was directed by none other than Michael Bay, and it is absolutely bonkers in the best way possible. It’s a surreal, chaotic masterpiece of 90s MTV, filled with wild imagery like a man literally chained up, leashed by his tongue, and being tormented by gorgeous women. It’s weird, it’s funny, and it’s a perfect visual match for the song’s chaotic energy. The video won a Moonman for Best Rock Video, and honestly, you watch it once and you’ll never forget it. It takes the playful, masochistic vibe of the lyrics and turns it into a visual feast that amplifies every wink and nudge Tyler throws out in the verses.

Now, set your watch for around the 2:05 mark, because that’s when Joe Perry steps out and absolutely takes over. The solo runs from about 2:05 to 2:25 and honestly, those 25 seconds are worth the price of admission alone. He comes in hot — not showy for the sake of it, but mean and deliberate, like every note has a purpose. There’s this gritty, almost bluesy bite to it that reminds you Perry is not just a rock guitarist, he’s a feel guitarist. He bends notes in ways that sound almost vocal, like he and Tyler are having a conversation, and then he just rips into this run toward the end that’ll make you hit rewind before you even realize you’ve done it. It’s compact, it’s nasty in the best way, and it’s over before you want it to be — which honestly is the mark of a truly great solo.

Look, I’ll be honest—I was late to the Aerosmith party. For the longest time, I only knew them from their Walk This Way collab with Run-DMC, which I loved, but I stupidly figured that was their only trick. It wasn’t until I randomly heard Cryin’ and Amazing on the radio one summer that something clicked, and I dove headfirst into their 90s output. That era—Get a Grip, Nine Lives, Permanent Vacation—absolutely hooked me with its mix of grit, melody, and pure swagger. And once I was in, I never looked back… well, except to go binge Toys in the Attic and Rocks and realize what I’d been missing all those years. So if you’re like me and you’ve slept on this band, do yourself a favor: put Falling In Love (Is So Hard On The Knees) on, pay close attention to the lyrical gymnastics, and just let it put a smile on your face. Trust me, you won’t regret it.

Falling In Love (Is Hard On The Knees)

You’re so bad you’re so bad you’re so
You’re so bad you’re so bad

You think you’re in love
Like it’s a real sure thing
But every time you fall
You get your ass in a sling
You used to be strong
But now it’s ooh baby please
‘Cause falling in love is so hard on the knees

You’re so bad you’re so bad you’re so
You’re so bad you’re so bad

We was making love when you told me that you loved me
I thought ol’ cupid he was taking aim
I was believer when you told me that you loved me
And then you called me someone else’s name

There ain’t gonna be no more beggin’ you please
You know what I want
And it ain’t one of these
You’re bad to the bone
And your girlfriend agrees
That falling in love is so hard on the knees

You’re so bad you’re so bad you’re so
You’re so bad you’re so bad

Chip off the old block
Man you’re so much like your sister
My fantasize it must be out of luck
My old libido has been blowing a transistor
I feel like I have been hit by a fuck

Yeah

I’m Jonesin’ on love
Yeah I got the DT’s
You say that we will
But there ain’t no guarantees

I’m major in love
But in all minor keys
Cause falling in love is so hard on the knees

What are you looking for
It’s got to be hard core
Must be some kind of nouveau riche

Is this your only chance
Or some hypnotic trance
Let’s get you on a tighter leash

Own it own it own it

[guitar solo @2:05]

You’re so bad you’re so bad you’re so
You’re so bad you’re so bad

You ain’t that good
Is what you said down to the letter
But you like the way I hold the microphone
Sometimes I?m good but when I’m bad
I’m even better
Don’t give me no lip
I’ve got enough of my own

There ain’t gonna be no more beggin’ you please
You know what I want
And it ain’t one of these
You’re bad to the bone
And your girlfriend agrees
That falling in love is so hard on the knees

I’m Jonesin’ on love
Yeah I got the DT’s
You say that we will yeah
But there ain’t no guarantees
I’m major in love
But in all minor keys
‘Cause falling in love is so hard on the knees

Great Guitar Solos Series

Song of the Day: Profondo Rosso by Goblin

Posted on by Lisa Marie Bowman

In honor of Daria Nicolodi’s birthday, today’s song of the day comes from Dario Argento’s Deep Red!

Deep Red features the first collaboration between Argento and Goblin and the score remains a classic.

Here’s Goblin performing Profondo Rosso on Italian television in 1975.

Song of the Day: Light My Fire (The Doors)

Posted on by Arleigh

Alright, let’s talk about Light My Fire. You’ve probably heard it a million times on the radio, but trust me, you’ve been missing the point. The short version you hear is just a tease, a little taste. If you want to understand what The Doors are really about, you have to dive into the full album version. It’s a seven-minute trip, and the journey it takes you on is all about the instrumental break in the middle. It’s not just a pop song; it’s a full-blown experience that defined an era, blending psychedelic rock with a dark, bluesy undertow that still sounds fresh today. And here’s the kicker—the guy who wrote and composed this entire masterpiece, Robby Krieger, was only 18 years old when he came up with it. Eighteen. Let that sink in.

Now, the engine of this whole thing is Krieger’s guitar. It’s easy to get hypnotized by Ray Manzarek’s carnival-like organ solo that comes first—it’s a wild ride on its own—but when that ends, Krieger steps in and things get seriously real. This is where the song truly catches fire. His style is so unique; he wasn’t just playing rock and roll riffs. He was pulling from flamenco and jazz, bending notes and creating a sound that was both aggressive and almost conversational. He’s not just showing off; he’s telling a story with his guitar, and it’s absolutely hypnotic. Remember, this is a teenager crafting this—not some seasoned pro in his thirties. It’s mind-blowing.

You really need to pay close attention to when the guitar solo kicks in at 3:18. This isn’t a quick, tidy solo you’d hear on a standard pop track. It goes for over two minutes, and it builds and builds into this incredible peak. It’s crazy to think that at a time when most pop songs were winding down, The Doors were just getting started, stretching the boundaries of what a “hit song” could even be. It’s a serious statement from a band that wasn’t afraid to be different, and it’s why the radio edit is often seen as a crime against music. That an 18-year-old kid had the vision and the guts to push for something this ambitious just makes it even more legendary.

So, do yourself a favor. The next time you’re in the mood for something that’s more than just background noise, put on the full version of Light My Fire. Crank up the volume, close your eyes, and wait for that 3:18 mark. Let that searing guitar solo wash over you, and think about the fact that a teenager was behind it all. It’s raw, it’s poetic, and it’s the kind of pure, unfiltered musical magic that you just don’t hear anymore. Honestly, once you experience it in its full glory, you’ll never want to hear the short version again.

Light My Fire

You know that it would be untrue
You know that I would be a liar
If I was to say to you
Girl, we couldn’t get much higher

Come on baby light my fire
Come on baby light my fire
Try to set the night on, fire

The time to hesitate is through
No time to wallow in the mire
Try now we can only lose
And our love become a funeral pyre

Come on baby light my fire
Come on baby light my fire
Try to set the night on, fire yeah

[guitar solo @3:18]

The time to hesitate is through
No time to wallow in the mire
Try now we can only lose
And our love become a funeral pyre

Come on baby light my fire
Come on baby light my fire
Try to set the night on, fire yeah

You know that it would be untrue
You know that I would be a liar
If I was to say to you
Girl, we couldn’t get much higher

Come on baby light my fire
Come on baby light my fire
Try to set the night on fire
Try to set the night on fire
Try to set the night on fire
Try to set the night on fire

Great Guitar Solos Series

Song of the Day: Main Theme From Zombi 2 by Fabio Frizzi

Posted on by Lisa Marie Bowman

Zombi 2 (1979, dir. Lucio Fulci, DP: Sergio Salvati)

For today’s song of the day, we celebrate the birthday of Lucio Fulci with Fabio Frizzi’s main theme from 1979’s Zombi 2.  If you’ve ever seen the film, it’s impossible to hear this piece of music without imagining hundreds of zombies walking across the Brooklyn Bridge.

Song of the Day: Any Way You Want It (by Journey)

Posted on by Arleigh

Okay, so you’ve probably heard Any Way You Want It by Journey at a sports game, a movie, or blasting from someone’s car with the windows down. And yeah, it’s a classic rock anthem, but let me tell you why you need to actually listen to it like it’s your new favorite song. First off, that opening riff? Pure adrenaline. It kicks in with this chugging, joyful energy that doesn’t let up. Steve Perry’s vocals are famously sky-high and smooth, but the real secret weapon here is how the whole band locks into this unstoppable groove. It’s not complicated—it’s just fun. If you’re in a bad mood, hit play. I guarantee you’ll be tapping your steering wheel by the ten-second mark.

Now, let’s talk about the guitar solo, because that’s where Neal Schon earns his legend status. It starts at 1:34, right after the second chorus when the song pulls back just for a breath. And then—bam. Schon doesn’t waste time with flashy nonsense. He comes in with this biting, melodic line that feels like a conversation. It’s not about showing off speed (though he’s got plenty); it’s about attitude. The solo builds with these perfect bends and a little wah pedal flavor, then climbs higher and higher until it just explodes into a fiery run that hands the energy right back to Perry for the final chorus. From 1:34 to about 2:00, it’s pure rock and roll perfection.

What I love most is how the solo doesn’t overpower the song—it serves it. So many guitar heroes try to steal the spotlight, but Schon is playing like he’s part of a team. You can hear him weaving in and out of the rhythm section, almost dancing with the bass and drums. And that tone? Crisp, a little overdriven, but never muddy. It’s the sound of someone who knows exactly when to let a note ring out and when to smash into the next one. If you’ve ever thought Journey was just a “ballads band,” this solo will change your mind fast.

Bottom line: Any Way You Want It is a shot of pure joy, and the guitar solo from 1:34 to 1:45 is the heart of the whole thing. Put on headphones, crank the volume, and just focus on how Schon makes his guitar sing, shout, and then whisper all in under thirty seconds. Then hit replay, because I promise you’ll miss something the first time. Give it two listens—one for the vocals, one for the solo—and you’ll wonder how you ever slept on this track. It’s not deep, it’s not complicated. It’s just perfect. Any way you want it, that’s the way you’ll need it. Trust me.

Any Way You Want It

Any way you want it
That’s the way you need it
Any way you want it

She loves to laugh
She loves to sing
She does everything
She loves to move
She loves to groove
She loves the lovin’ things

Ooh, all night, all night
Oh, every night
So hold tight, hold tight
Ooh baby, hold tight

Oh, she said
Any way you want it
That’s the way you need it
Any way you want it
She said, any way you want it
That’s the way you need it
Any way you want it

I was alone
I never knew
What good love could do
Ooh, then we touched
Then we sang
About the lovin’ things

Ooh, all night, all night
Oh, every night
So hold tight, hold tight
Ooh baby, hold tight

Oh, she said
Any way you want it
That’s the way you need it
Any way you want it
I said, any way you want it
That’s the way you need it
Any way you want it

[guitar solo]

She said ohh, hold on, hold on, hold on
Oh, she said any way you want it
That’s the way you need it
Any way you want it

Any way you want it
That’s the way you need it
Any way you want it

She said any way you want it
That’s the way you need it
Any way you want it

Any way you want it
That’s the way you need it
Any way you want it

Any way you want it
That’s the way you need it
Any way you want it

Any way you want it
That’s the way you need it
Any way you want it

Any way you want it
That’s the way you need it
Any way you want it

Any way you want it
That’s the way you need it
Any way you want it

Any way you want it
That’s the way you need it
Any way you want it

Any way you want it
That’s the way you need it

Great Guitar Solos Series

Song of the Day: Title Music From A Clockwork Orange by Wendy Carlos

Posted on by Lisa Marie Bowman

Seeing as how today is Malcolm McDowell’s birthday, it only seems right that today’s song of the day should be one that was used in his best-known film.

The Title Music For A Clockwork Orange was, of course, adapted from Music For The Funeral of Queen Mary, composed by Henry Purcell.

 

 

Song of the Day: Superman March by John Williams

Posted on by Lisa Marie Bowman

Since today is Superman Day, it only makes sense that today’s song of the day should John Williams’s rousing Superman March from 1978’s Superman.  In this video from 2023, John Williams conducts the Saito Kinen Orchestra.