Song of the Day: Shake You Down (by. Gregory Abbott)


There’s something instantly recognizable about Gregory Abbott’s “Shake You Down.” From that opening synth line to the smooth, almost whispered vocals, it feels like pure ’80s romance bottled into four silky minutes. This wasn’t a loud song — it didn’t need to be. Abbott’s voice doesn’t demand attention; it draws you in with that gentle charm that made it the perfect track for dimly lit gym floors, disco balls spinning, and teenagers swaying in slow circles, trying not to step on each other’s shoes.

What made “Shake You Down” stand out wasn’t just the melody but how effortlessly seductive it was without ever being explicit. The song oozes quiet confidence — cool, easy, and slightly shy — the way the best R&B hits of the era did. It’s the kind of tune that made every listener feel like they were starring in their own movie moment: that hesitant glance, that first slow dance, that unspoken “this might be something” energy. Even now, it triggers a rush of nostalgia for a more innocent kind of intimacy.

Decades later, it’s no wonder “Shake You Down” still sneaks its way into prom playlists and retro nights. It doesn’t chase trends or rely on flashy production — it’s just a solid, soulful groove that makes you want to close your eyes and sway. For anyone who grew up in the ’80s or ’90s, hearing those first notes is like being transported back to a simpler time when a slow song at the end of the night could mean everything.

Shake You Down

Girl, I’ve been watching you
From so far across the floor, now, baby
That’s nothing new, I’ve watched you
So many times before, now, baby
I see that look in your eyes (look in your eyes)
And what it’s telling me
And you know, ooh girl, that I’m not shy
I’m glad you picked up on my telepathy, now, baby

You read my mind (you know you did)
Girl, I wanna shake you down (oh well, oh well)
I can give you all the lovin’ you need
(I’m gonna love you)
Come on, let me take you down (oh, baby)
We’ll go all the way to Heaven
Ooh, I been missing you
And the way you make me feel inside
What can I do? I can tell you’ve got your pride now, baby
Come to me (oh well, oh well)
Let me ease your mind (oh babe)
I’ve got the remedy, yes I do
Now give me just a little time

I wanna rock you down
(I can give you all the lovin’ you need)
I’m gonna love you
(Come on, let me take you down)
Oh well, oh well
(We’ll go all the way to Heaven)

Girl, I’ve been missing you
And you know, it’s funny
Every time I get to feelin’ this way
I wish I had you near me
I wanna reach out and touch you

I can’t stop thinking of the things we do
The way you call me “baby” when I’m holding you
I shake and I shiver when I know you’re near
Then you whisper in my ear (oh baby, well, well)

Oh baby
(I can give you all the lovin’ you need)
I’m gonna love you
(Come on, let me take you down)
Oh well, oh well
(We’ll go all the way to Heaven)

Eeny-meeny-miny-mo (you read my mind)
Come on, girl, let’s shock the show (girl, I wanna shake you down)
(I can give you all the lovin’ you need)
Roses are red and violets are blue
I’m gonna rock this world for you
Hey baby
(We’ll go all the way to Heaven)
(You read my mind)
Girl, I wanna shake you down
I can give you all the lovin’ you need
Come on, let me take you down
We’ll go all the way to Heaven

Song of the Day: Open Arms (by Journey)


There’s something about nostalgia that hits differently. It gets a bad rap sometimes—mostly because it can make us label anything from our past as a “classic” just because it’s tied to some fond memory. But when it’s genuine, nostalgia can feel like stepping back into a moment you never wanted to end.

That’s exactly what today’s “Song of the Day” does—it stirs up those feelings of the past and reminds me why some songs never lose their magic. I’m talking about one of the all-time great power ballads: Journey’s “Open Arms.”

Released in 1982 on Journey’s seventh album, Escape, the song was an instant hit, both on the radio and in their arena shows. “Open Arms” quickly became the rock power ballad—the one all others get compared to. Like any good ballad, it’s about losing love and finding it again. Honestly, I don’t know anyone—no matter their music taste—who hasn’t slow danced to this song at least once.

It wasn’t exactly the go-to tune at my high school dances, but I definitely heard it plenty once I was older—at weddings, anniversaries, and other celebrations. The song’s staying power comes from more than just its lyrics—it’s Steve Perry’s voice. His delivery is powerful without feeling overdone or corny. There’s this sincerity in his singing, like he’s sharing something deeply personal, and that’s what gives the song its timeless emotional pull.

Open Arms

Lying beside you
here in the dark
Feeling your heart beat with mine

Softly you whisper
you’re so sincere
How could our love be so blind
We sailed on together
We drifted apart
And here you are by my side

So now I come to you
with open arms
Nothing to hide
believe what I say
So here I am with open arms
Hoping you’ll see what your love means to me
Open arms

Living without you
living alone
This empty house seems so cold

Wanting to hold you
wanting you near

How much I want you home
But now that you’ve come back
Turned night into day
I need you to stay

So now I come to you
with open arms
Nothing to hide
believe what I say
So here I am with open arms
Hoping you’ll see what your love means to me
Open arms

Song of the Day: Faithfully (by Journey)


Back in junior high in the early ’80s, Faithfully dropped in 1983 on Journey’s Frontiers album, and those haunting piano chords instantly hooked us during slow skates or late-night mix tapes. Steve Perry’s raw, soaring voice captured the ache of young love stretching across town, turning everyday pangs into something profound. Even by 1988, deep into high school, it had evolved into a staple power ballad at dances and teen parties, standing tall among the era’s anthems.

What elevated it to one of Journey’s all-time greatest was its blend of emotional depth and universal appeal—highways symbolizing distance, hearts straining but vowing “to be there faithfully,” all without the bombast of hair metal excess. It felt authentic, perfect for those fog-shrouded bus rides home, fueling dreams amid neon-lit awkwardness. Rock historians often hail it as the pinnacle of ’80s power ballads, outshining peers with its sincerity and that unforgettable guitar climb.

Hearing it today still transports me to cassette decks and feathered hair, a true time capsule of innocence. Journey mastered crafting songs that promised soul-deep connection against all odds, cementing Faithfully as their crown jewel and the era’s ballad benchmark.

Faithfully

Highway run into the midnight sun
Wheels go ’round and ’round, you’re on my mind
Restless hearts sleep alone tonight
Sendin’ all my love along the wire

They say that the road ain’t no place to start a family
Right down the line it’s been you and me
And lovin’ a music man ain’t always what it’s supposed to be
Oh, girl you stand by me, I’m forever yours, faithfully

Circus life under the big top world
We all need the clowns to make us smile
Through space and time, always another show
Wondering where I am lost without you

And bein’ apart ain’t easy on this love affair
Two strangers learn to fall in love again
I get the joy of rediscovering you
Oh girl, you stand by me, I’m forever yours, faithfully

Faithfully, I’m still yours
I’m forever yours, ever yours
Faithfully

Song of the Day: Cocaine Blues (by Johnny Cash)


Johnny Cash’s “Cocaine Blues” rolling over Lucy gleefully mowing down the ghoul Elvis-faction is one of those perfectly twisted Fallout moments — absurd, violent, and darkly funny. The song’s tale of a killer singing about his own crimes while Lucy grins through the carnage gives the whole scene a warped playfulness. Cash’s deliberate rhythm, all swagger and doom, turns what could’ve been grim into something closer to a dance — a gunslinging ballet where the wasteland’s chaos feels almost celebratory. That contrast is what makes it pop.

In that moment, “Cocaine Blues” becomes more than just needle-drop nostalgia; it’s commentary on Lucy’s transformation. She’s still got that vault-born cheer in her step, but now there’s something unhinged behind it — she’s caught up in the thrill. The imagery of her gunning down rhinestoned ghouls to Cash’s steady beat blurs innocence and indulgence — she’s no longer reacting to the brutality around her, she’s participating in it with genuine abandon. The song’s tale of killing and comeuppance hangs over her like prophecy, reminding us that even the brightest smile in the wasteland can cast a long shadow.

As the gunfire fades and Cash’s voice trails off, the irony hangs in the dust. Fallout has always thrived on these juxtapositions — the sunny Americana soundtrack to utter moral decay. “Cocaine Blues” leaves the scene pulsing with contradictions: joy and violence, freedom and madness, music and mayhem. It’s the sound of Lucy crossing another invisible line while smiling all the way through it, and Cash is there to make sure we don’t miss the joke.

Cocaine Blues

Early one mornin’ while makin’ the rounds
Took a shot of cocaine and I shot my woman down
Went right home and I went to bed
I stuck that lovin’ 44 beneath my head

Got up next mornin’ and I grabbed that gun
Took a shot of cocaine and away I run
Made a good run, but ran too slow
They overtook me down in Juarez, Mexico

Laid in the hot joints takin’ the pill
In walked the sheriff from Jericho Hill
He said, “Willy Lee, your name is not Jack Brown
You’re the dirty hop that shot your woman down”

Said, “Yes, sir, yes, my name is Willy Lee
If you’ve got a warrant, just read it to me
Shot her down because she made me sore
I thought I was her daddy, but she had five more”

When I was arrested, I was dressed in black
They put me on a train and it took me back
Had no friends for to go my bail
They slapped my dried up carcass in that county jail

Got up next mornin’ ’bout a half past nine
Spied the sheriff coming down the line
Hopped and he coughed as he cleared his throat
He said, “Come on you dirty hop into that district court”

Into the courtroom, my trial began
Where I was handled by 12 honest men
Just before the jury started out
I saw that little judge commence to look about

In about five minutes in walked the man
Holding the verdict in his right hand
The verdict read in the first degree
I hollered, “Lordy, Lordy, have mercy on me”

The judge he smiled as he picked up his pen
99 years in the Folsom pen’
99 years underneath that ground
I can’t forget the day I shot that bad bitch down

Come on you hops and listen unto me
Lay off that whiskey and let that cocaine be

Song of the Day: Big Iron (by Marty Robbins)


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

Song of the Day: Black Magic Woman (by Carlos Santana)


Carlos Santana’s song “Black Magic Woman” is a timeless tune that hooks you right from the start, but it’s that guitar solo that really makes it unforgettable and that is what make it our latest “Song of the Day.” The solo kicks in around 2 minutes and 24 seconds into the track. What’s great about Santana’s solo is how it feels like a conversation rather than just fast playing. His guitar almost sounds like it’s telling a story, with smooth, soulful notes that seem to sing. It’s not about shredding or showing off; it’s about playing each note with feeling and attitude, making you want to listen over and over.

What really stands out in the solo is how Santana uses bends and vibrato — which means he gently raises the pitch of the notes and adds a slight shake. This gives the solo a warm and emotional feel, almost like a human voice expressing deep feelings. The smooth back-and-forth flow between notes keeps it easy to follow, so even if you’re not a guitarist, you can feel the emotion. Plus, the mix of Latin rhythms shines through, giving the solo a unique flavor that sets Santana apart from other guitarists and adds some groove to the song.

The solo in “Black Magic Woman” is what really grabs listeners and keeps them hooked. It’s not about playing a million notes fast, but about making every sound count and really feeling the music. Santana’s guitar almost talks and sings with a warm, inviting voice that pulls you into the mood of the song. His unique blend of smooth, flowing notes with just the right amount of grit and emotion makes the solo stand out as something special and timeless. Instead of flashy showmanship, it’s the deep connection you feel through the guitar that keeps the solo memorable and moving for generations of listeners. This soulful approach is what turns a simple guitar solo into a truly magical moment in the song.

Black Magic Woman

Got a black magic woman
Got a black magic woman

I’ve got a black magic woman
Got me so blind I can’t see
That she’s a black magic woman
She’s tryin’ to make a devil out of me

Don’t turn your back on me, baby
Don’t turn your back on me, baby

Yes, don’t turn your back on me baby
Stop messin’ around with your tricks
Don’t turn your back on me baby
You just might pick up my magic sticks

[guitar solo]

Got your spell on me baby
Got your spell on me baby

Yes you got your spell on me baby
Turning my heart into stone
I need you so bad – magic woman
I can’t leave you alone

Great Guitar Solos Series

Song of the Day: Father Figure (by George Michael)


george-michael

The year of 2016 has taken many of the music scene’s greatest. Prince, David Bowie and Glenn Frey just to name a few taken too soon. Now, George Michael joins his musical brethren as news of his passing on Christmas Day was announced and confirmed.

There’s not much to say other than any kid growing up during the late 80’s knew and listened to George Michael in some capacity or another. While he became famous as part of the British boy band WHAM! it was when he branched out on his own as a solo act that he hit megastar status. His solo debut album, Faith, would reach multi-platinum levels and each single released from the album and each video that ran in circulation on MTV would become instant hits.

My favorite song of his and this goes to his many excellent post-modern videos, would be the third single released from his debut album, “Father Figure.”.

Father Figure

That’s all I wanted
Something special, something sacred
In your eyes

For just one moment
To be bold and naked
At your side

Sometimes I think that you’ll never
Understand me (understand me)
Maybe this time is forever
Say it can be, woah

That’s all you wanted
Something special, someone sacred
In your life

Just for one moment
To be warm and naked
At my side

Sometimes I think that you’ll never
Understand me (understand me)
But something tells me together
We’d be happy, woah baby

I will be your father figure (oh baby)
Put your tiny hand in mine (I’d love to)
I will be your preacher teacher (be your daddy)
Anything you have in mind (it would make me)

I will be your father figure (very happy)
I have had enough of crime (please let me)
I will be the one who loves you
Till the end of time

That’s all I wanted
But sometimes love can be mistaken
For a crime

That’s all I wanted
Just to see my baby’s
Blue-eyed shine

This time I think that my lover
Understands me (understands me)
If we have faith in each other
Then we can be strong, baby

I will be your father figure
Put your tiny hand in mine (my baby)
I will be your preacher teacher
Anything you have in mind

I will be your father figure
I have had enough of crime
I will be the one who loves you
Till the end of time

If you are the desert, I’ll be the sea
If you ever hunger, hunger for me
Whatever you ask for, that’s what I’ll be

So when you remember the ones who have lied
Who said that they cared
But then laughed as you cried

Beautiful darling
Don’t think of me
Because all I ever wanted
It’s in your eyes
Baby, baby
And love can’t lie, no

(Greet me with the eyes of a child)
My love is always telling me so
(Heaven is a kiss and a smile)
Just hold on, hold on
And won’t let you go, my baby

I will be your father figure
Put your tiny hand in mine
I will be your preacher teacher
Anything you have in mind

I will be your father figure
And I have had enough of crime
So I am gonna love you
Till the end of time

(I will be your father) I will be your
(I will be your preacher) Father
(I will be your father) I’ll be your daddy, whoa
I will be the one who loves you
Till the end of time