"THE QUEEN IS DEAD" THE SMITHS (1986)

November 10, 2022

Great album openers get the listeners to keep on listening. They can do this in any number of ways. Some openers set the tone by easing us in. Others jump right in and blow our minds from the very beginning. A great album opener isn’t an easy thing to create. More than a great song, it’s all about the sequence. Track 1 has to be the perfect starter. This month, I’m highlighting my favorites. #AlbumOpeningSongs

Before I got my Queen is Dead cassette on that fateful Saturday evening at Tower Records, I already knew the more well-known songs: “Some Girls Are Bigger Than Others”, “The Boy With The Thorn in His Side”, “Bigmouth Strikes Again” and, of course, “There is a Light That Never Goes Out”. But, hearing the entire album was a completely different experience. From the very beginning, it was an album that I had to listen to from beginning to end. Perfectly sequenced with not a lackluster track on either side, The Queen is Dead opened with a banger: the song of the same name.

It is an album opener that makes other album openers seem so inadequate. “The Queen Is Dead” kicks off with the sample from “Take Me Back To Dear Old Blighty”. It was magnificent. Before long, Mike Joyce launches a barrage on the drum set and Andy Rourke creates a slinging, cutting bass line, both of which make you hate yourself for ever thinking The Smiths were all about Morrissey and Marr. They’re all firing on all cylinders here. And this title track sounds like nothing else that we’ve heard before. It’s luring us in. And our lives are never the same again because this is The Queen Is Dead.

“Past the pub that saps your body. And the church who'll snatch your money. The Queen is dead, boys. And it's so lonely on a limb.”

"AGE OF CONSENT" NEW ORDER (1983)

November 9, 2022

On the day of the show, one of my concert buddies and I snagged well-priced tickets on the floor at the Garden to see the Unity tour, featuring New Order, Pet Shop Boys and Paul Oakenfold. The songs brought me back to a really good place. A place where only the music matters. No matter what other crap is happening in the world, we still have these songs. And that means something. It’s why I often feel this sense of euphoria when I’m at a concert, particularly one at the Garden. The second song on the setlist was the opening track to Power, Corruption and Lies, the song that made it clear New Order was forging its own path forward, not simply wandering the same path of Joy Division.

The word “infectious” maybe gets a little overused when describing music. But, I mean, is there a better word to describe “Age of Consent”? It sucks you in with that iconic bass line from Peter Hook. Played high up on the neck as was typical for Hooky, it stays firmly in the foreground of the song. The lyrics spewing from Sumner are like a confession. Something to get off your chest. Which leads me to the next word that best describes this New Order classic. Liberating. Did Sumner write this so that we can somehow be free?

“And I'm not the kind that likes to tell you just what I want to do. I'm not the kind that needs to tell you just what you want me to.”

"BURNING DOWN THE HOUSE" TALKING HEADS (1983)

November 8, 2022

One of the greatest concert experiences I ever had wasn’t even a true concert. It was a Broadway show: David Byrne’s American Utopia. The show was brilliant. Byrne provided commentary on the state of the world, but he never preached or pissed anyone off. He simply plead for ways to make things better for all of us. And, it turns out, more than 75% of the music was from the Talking Heads catalog. And then here’s the kicker. this event happened as we were beginning to emerge out of the pandemic. The event was cathartic for us all. And when “Burning Down The House” came on, everyone rose to their feet. It never felt so good to dance and be with people again.

The opener to Speaking in Tongues is full of synth zaps, tumbling drum rolls, thumping bass lines, spastic guitar strums, and then there are the vocals. “Burning Down The House” beckons us in to sing along. David Byrne, as usual, sings with his whole being, putting everything he has into every word. It seemed like one of the quintessential songs of the eighties. But then hearing it again live – and on my Spotify – I’m amazed at how well it has held up. It’s just as sharp and mesmerizing as it was all those years ago.

“No visible means of support. And you have not seen nothin' yet. Everything's stuck together. And I don't know what you expect. Staring into the TV set. Fighting fire with fire.”

"RIO" DURAN DURAN (1982)

November 7, 2022

I was out of town when Duran Duran played at the Garden in NYC this summer. Hearing from fans and then seeing some of their camera-recorded videos afterwards, it was clear that I missed out on something special. The crowd was so into it because the band was in great form and, for a night, it sounded like everyone in the building was transported back to the eighties. So many of the fan favorites hold up so well some forty years later. Truly a remarkable feat. I remember when a family friend introduced my brother and I to Rio. It felt like a rite of passage. “My Own Way”, “The Chauffeur”, “Hungry Like The Wolf”, “Save a Prayer”, “New Religion”, the album was stacked. And it all begins with one of the greatest Track Ones of the decade: “Rio”.

What an opening. That ominous, metallic noise. Is something closing or opening? Before we know it, the rhythm section of Roger Taylor on drums and John Taylor on bass kicks in as Nick Rhodes lays down the main synthesizer riff that conjures up images of sparkly reflections off the Rio Grande. The drum fill ushers you in, the bass takes it from there. John Taylor is exceptional at melding elements of funk, rock and new wave, squashing any doubt that the bass is a frigging cool instrument. Andy Taylor’s guitar hook is a simple scorcher, like blazing sun rays “through the dusty land”. These are also some of Simon Le Bon’s finest lyrics and vocal performances. Who hasn’t wanted to do karaoke to this? And then we wrap things up with a killer sax solo for the ages. It seems like you can only go downhill from here, but the Rio album doesn’t ever let up. It just starts out with an incredible, unforgettable bang.

“Cherry ice cream smile, I suppose it's very nice.”

"MORE THAN THIS" ROXY MUSIC (1982)

November 6, 2022

Many bands have covered this song over the years. But one thing they haven’t been able to do is capture the unique sound of Roxy Music. This is a band that gave the music world an unusual, progressive rock tilt in the 70s, then elevated pop music in the 80s. “More Than This” was a prime example of the latter. You can’t copy Bryan Ferry’s vocals and you wouldn’t even try. And you can’t mimmic the intricate instrumentation because the soul of the song is Roxy Music, not just the melody. Still, Avalon was a departure, a sharp turn the other way for the band. And “More Than This” led the way.

Like many tracks from the Avalon album, “More Than This” is more akin to a gorgeous symphony than a rock song like the band’s early stuff. No one instrument overpowers the rest. Like lovers finishing each other’s sentences, each instrumental interlude seems to answer the other – from Manzanera’s understated guitar strums to Ferry’s airy synth arrangements to Mackay’s sax flourishes. Roxy Music’s “More Than This” achieves a delicate balance that no cover has been able to recreate.

“It was fun for a while. There was no way of knowing, like a dream in the night. Who can say where we're going. No care in the world, maybe I'm learning why the sea on the tide has no way of turning.”

"THE SPIRIT OF RADIO" RUSH (1980)

November 5, 2022

I could’ve picked any number of album openers from this Canadian trio. But “The Spirit of Radio” is probably the one that’s most endearing to me as a fan. Before I owned my Permanent Waves cassette, I was borrowing one from the town library. Slightly turned off and amused by the beige plastic back and slightly turned on by the front album cover. Where would this album take me? It was off in a hurry to show me prog rock could be accessible. That instrumental prowess matters. That music doesn’t have to be super complicated. Sometimes nothing gets you going like a good guitar solo. Enter “The Spirit of Radio”.

“The Spirit of Radio” was the stuff of a young boy’s fascination and admiration with hard rock. I mean, it just rocked really hard. One of Alex Lifeson’s best moments in the studio, in my opinion. But then it has an unexpected moment where a reggae refrain seeps in and disrupts the carnage, like some comic relief. Only Rush could do this. And since this is Rush playing, everyone, of course, is firing on all cylinders. Geddy is on a rampage on his bass guitar – and singing at the same time when performed live. And Neil is bullying his drums into submission. Not just an incredible album opener, a phenomenal setlist opener, eye opener and mind opener.

“For the words of the profits were written on the studio wall, concert hall, and echoes with the sound of salesmen.”

"IN THE FLESH?" PINK FLOYD (1979)

November 4, 2022

The Wall was my introduction to the world of Pink Floyd – and today still remains one of my favorite albums of theirs. It made me appreciate the power of a concept album. How all the tracks are strung together by a single idea and a single narrative. The Wall made me appreciate musical storytelling. Eventually this fascination meant getting the poster, watching the movie and diving into other more “accessible” parts of the band’s catalog. None of this would be possible if “In The Flesh?” didn’t reel me in with the deep, tangible conviction that I was going to be missing out if I didn’t keep listening.

I’ve written quite a bit about loud-quiet-loud dynamics on this blog – something mastered by several different bands such as the Pixies, Nirvana and Live. Well, it doesn’t get much better than Pink Floyd’s “In The Flesh?” Gilmour’s opening monster guitar riff gives way to Water’s sinister vocals. The track then revisits Gilmour’s iconic riff only this time accompanied by the sound effect of a plane nosediving in the sky. Never before have I felt like I just heard an entire album after only listening to Track 1.

“So ya thought ya might like to go to the show. To feel the warm thrill of confusion. That space cadet glow.”

"BLACK DOG" LED ZEPPELIN (1971)

November 3, 2022

Zeppelin is such a massive part of my journey as a music fan. I remember listening incessantly to the album simply named after the Roman numerals IV in my early high school years. My mind was blown instantly. I couldn’t believe lead guitar could be so vicious and audacious. And I couldn’t believe someone could sing like that – practically howling like an animal at times. “Black Dog”, as most true music fans already know, is Track 1, and Plant, Page, Bonzo and Jonesy opened things up with a giant-sized can of whupass.

Not sure exactly how blues and hard rock can be so easily intertwined to the point where you can’t tell which element is which? Just listen to “Black Dog”. The song uses space and pregnant pauses as good as any other to make the guitar riff explosions that much more explosive. I really like the fact that Page’s guitar almost feels like it’s lagging because the riff is so friggin’ fast. On to Robert Plant. His vocals on this song, in particular, really brought me into the fold. It didn’t just usher me into IV, it brought me into the entire Zeppelin catalog.

“I gotta roll, can't stand still. Got a flaming heart, can't get my fill. Eyes that shine burning red. Dreams of you all through my head.”

"CARRY ON" CROSBY, STILLS, NASH & YOUNG (1970)

November 2, 2022

CSN&Y did many things exceptionally well. Chief among them was the harmony singing – sonic in their 3-part and 4-part varieties. This strength is on full display throughout the Deja Vu album, but I think the greatest harmony execution happens on “Carry On”, a song that almost wasn’t part of the album. Thankfully, Graham Nash told Stephen Stills that they still didn’t have an album opener as they neared the end of the recording sessions. Shortly after, “Carry On” was born.

With “Carry On”, you get two songs in one. because it’s the love child of two unfinished tracks that Stephen Stills fused together as CSN&Y searched for the right opening song to Deja Vu. The 2:10 mark comes at you out of nowhere, but has a live, jam band feel. it sounds more like a part 2 than a transition. Whether you agree with their strategy or not, you can’t deny “carry on” made for quite a potent entrance on an album known more for slow tempo classics. And the classic CSN&Y harmonies are epic on this one.

“The sky is clearing and the night has gone out. The sun, he come, the world is all full of love. Rejoice, rejoice, we have no choice but to carry on.”

"TIME HAS TOLD ME" NICK DRAKE (1969)

November 1, 2022

The story of Nick Drake is one of the most unusual narratives in music history. A man who went largely unnoticed while quietly putting together three exceptional folk albums before dying of a drug overdose at the age of 27. Later, his work garnered a growing acclaim among critics and listeners. That includes me. My introduction to the 60’s was The Beatles, Simon & Garfunkel, Zeppelin and the like. I never even heard of Nick Drake until the 2000’s. But better late than never. Five Leaves Left is a rich, beautiful album – and the album opener “Time Has Told Me” is one of my favorite tracks from this under-the-radar record.

While Drake’s primary instrument was his acoustic guitar, the dark subdued piano chords form the key instrumentation on this song. The lyrics are written from a perspective one would expect from a wise, aged man. But this was a 21 year old. Drake’s old soul was driven by a deep sense of self-awareness and emotional maturity, which were remarkably beyond his years. This made his songwriting a true, rare gift. His deep, full baritone assures us that the answers aren’t always right in front us. But they do reveal themselves if we just give it time.

“And time has told me not to ask for more. Someday our ocean will find its shore.”

"NEARLY LOST YOU" SCREAMING TREES (1992)

October 31, 2022

For the last five days of October, I’m remembering music artists that died in 2022 by celebrating the music and legacy that continues to live on.

Mark William Lanegan: Nov 25, 1964 – Feb 22, 2022

Grunge was one of the few genres that seemed to come out of nowhere to take over the world. It was a strain of alternative rock that was practically unavoidable by the masses. Just how influential was the period? Well, as anyone who owned a flannel shirt in the early 90s can tell you, it impacted pretty much everything. Even non-grunge acts became more grunge-like during that era. Depeche Mode, Suzanne Vega and other artists all released albums that borrowed elements of the grunge sound into their recordings during the period. But the real stuff was where it was at. And right up there near the top was Screaming Trees’ “Nearly Lost You”.

Singles was one of those rare creative expressions that managed to define a new generation while also encapsulating an important musical era. It didn’t just use actors to achieve those ends. The film took place in Seattle – and actual members of Soundgarden, Pearl Jam and Alice in Chains appear in it. When “Nearly Lost You” came out, it could be heard constantly in my dorm hall. It got into your head, and then just stayed there. Mark Lanegan’s vocals were nearly Tom Waits-like, and the guitar riff swirled around like a siren. “Nearly Lost You” was just as important as any track off Nevermind, Dirt, BadMotorFinger and Ten – and it should come as no surprise that it became one of the most memorable songs from the Singles soundtrack.

“Did you hear the distant lie calling me back to my sin.”

"LOW" FOO FIGHTERS (2002)

October 30, 2022

For the last five days of October, I’m remembering music artists that died in 2022 by celebrating the music and legacy that continues to live on.

Oliver Taylor Hawkins: Feb 17, 1972 – Mar 25, 2022

It’s no exaggeration to say that the death of Taylor Hawkins shook the rock world. For many, the grueling toll that touring can take on the body is a wake-up call. Taylor’s death is so closely tied to the thing that gave him life. Fans know how much music means to Taylor, Dave Grohl and the band. His death brought together bands that have previously never come together before: Rush, The Police, Red Hot Chili Peppers, Alanis Morrisette (his employer prior to Foo Fighters) and many more. Because when you love music this much, we can set aside our superficial differences. It’s why I can appreciate and write about a Foo Fighters song without being a fan. I chose “Low”.

The guitars are on fire on “Low”, but the defining element are the drums. Full-throttle. Relentless. A reminder that Taylor wasn’t there to simply keep beat. Taylor was playing with every ounce of energy he had in him. You can clearly hear that and acknowledge that in the production. “Low” is a reminder of two things. One, how hard Foo Fighters can push things, and I mean hard. Two, playing with everything you’ve got, for some, is the only way to play.

“You be my passerby. I'll be your new one to pass through.”

"CONDEMNATION" DEPECHE MODE (1993)

October 29, 2022

For the last five days of October, I’m remembering music artists that died in 2022 by celebrating the music and legacy that continues to live on.

Andrew John Fletcher: Jul 8, 1961 – May 26, 2022

The news of Andy Fletcher’s passing hit me like a ton of bricks. Depeche Mode was an important band for me growing up, taking traditional melodic song structures and bringing them to life with synthesizers instead of traditional elements. Andy famously said that Martin was the songwriter, David was the singer, Alan was the real musician, and he just bummed around. But those who know the band well know that Andy did far more than just bum around. Andy was the business guy that was just as critical to the band’s success as the music itself. Plus, he helped create defining elements of the trademark DM sound, including the drone sounds and, of course, the bass (think “Behind the Wheel”, “Everything Counts”, “Personal Jesus”). Andy rarely sang, but he did contribute backing vocals as part of the chorus in one of my favorite DM anthems: “Condemnation”.

Martin Gore explored religious themes in his lyrics throughout Depeche Mode’s career. An honest, if not conflicted spirituality. “Condemnation” takes things to another level with its gospel choir approach. The song is flanked by two bangers on the Songs of Faith and Devotion album. The grungy disposition of “Walking in My Shoes” and “Mercy in You” only expose the simple cleanness of “Condemnation” even more. The song feels like a palette cleansing. A baptism for the ears.

“If you see purity as immaturity, well, it's no surprise. If for kindness you substitute blindness, please open your eyes.”

"STEP ON" HAPPY MONDAYS (1990)

October 28, 2022

For the last five days of October, I’m remembering music artists that died in 2022 by celebrating the music and legacy that continues to live on.

Paul Anthony Ryder: Apr 24, 1964 – Jul 15, 2022

The bassist and one of the founding members of the Happy Mondays, Ryder was an important and influential artist in his own right. I still remember hearing songs from Pills ‘N’ Thrills and Bellyaches on my local alt rock station WDRE/WLIR and thinking that the songs stuck out like sore thumbs. Their upbeat vibe contrasted with the demeanor of bands from the same genre like The Stone Roses as well as bands from the same generation like the Pixies, Smashing Pumpkins and Nirvana. I remember “Step On” with the utmost clarity.

“Step On” is a song that was played at a local club near my hometown. During my senior year in high school, we would show our terribly made fake IDs and get in on Friday night because that’s when they played the alt rock gems. The music ranged from industrial to goth to new wave to jangle pop to the burgeoning Manchester rock scene. Two songs ruled the dance floor from this era. The Stone Roses’ “Fools Gold” and the Happy Mondays’ “Step On”. These two songs could not sound more different, but on those Friday nights they seemed like they were on the exact same page.

“Gonna stamp out your fire. He can change your desire.”

"GANGSTA'S PARADISE" COOLIO (1995)

October 27, 2022

For the last five days of October, I’m remembering music artists that died in 2022 by celebrating their music and legacy.

Artis Leon Ivey Jr. (Coolio): Aug 1, 1963 – Sep 28, 2022

The very reasons why people love hip hop and gangsta rap are the same reasons why I’m not crazy about these genres. Many of their most well-known tracks rely on samples from existing tracks for their riffs – and even for their melodies and lyrics. I just prefer originality when it comes to these core music elements. But I understand the significance of a samples-heavy approach. It’s a reminder that the artists themselves are fans just like us. Samples also serve as an ode to the past and to key musical influences. And if you’re going to sample someone else’s music, you may as well use the best, like Coolio did in “Gangsta’s Paradise”.

Stevie Wonder’s Songs in the Key of Life is a great listen. But I have to admit, I heard “Gangsta’s Paradise” before I even knew about “Pastime Paradise”. Hearing the songs in this order allowed me to appreciate the latter that much more. Coolio had the groove and his finger on the pulse of the new reality. But Stevie had the vision and musical creativity, being one of the first to use a synthesizer to create string sounds. “Gangsta’s Paradise” made the groove and rhythm more palatable for everyone – from black kids in the hood to white suburban kids to parody kingpin “Weird Al” Yankovic. “Gangsta’s Paradise” is that rare track that is both a cultural statement and a cultural phenomenon.

“As I walk through the valley of the shadow of death, I take a look at my life and realize there's nothin' left.”

"THE ROVER" LED ZEPPELIN (1975)

October 26, 2022

For the month of October, I’m taking the #OctAtoZBandChallenge challenge. The premise is simple. Pick a band starting with the day’s assigned alphabet letter and then choose a song from that band.

Day 26

There are so many things to respect about Led Zeppelin’s artistry and musicianship. But the one thing that was always the most appealing aspect to me is Jimmy Page’s seemingly infinite well of guitar lines. This is the strength of the album Physical Graffiti which, in my opinion, contains the greatest collection of guitar riffs in one album, including quite a few on “The Rover” alone.

“The Rover” is one of Zeppelin’s most underrated songs. It’s never mentioned in the same breath as “Kashmir”, “Immigrant Song” or “Black Dog”, but it’s not far behind that upper echelon of the Zeppelin catalog. There are four memorable riffs that define “The Rover”: the intro, the chorus, the bridge and the epilogue, making it one of Page’s single greatest masterpieces. Bonzo’s percussion attack was nothing to sneeze at either, not to mention a sound that seemed to inform and inspire the hard rock Aussie outfit AC/DC.

“And our time is flying, see the candle burning low. Is the new world rising, from the shambles of the old.”

"Y CONTROL" YEAH YEAH YEAHS (2003)

October 25, 2022

Day 25

Coming up on another band that I discovered late. Being late to the Yeah Yeah Yeahs party, however, doesn’t feel like regret. Because once you arrive, all you think about is just the fact that you’re there. And being there is good. “Maps” might be the only song that I previously knew from the band. But after gravitating toward the band’s new album this year, I started making my way backwards in their catalog. I’ve loved everything I’ve heard so far. While many of their peers seemed to have a less diverse sound – think The Strokes and Interpol – Yeah Yeah Yeahs take a more divergent approach to exploring a variety of instrumental styles, tempos and themes. “Y Control” is a song where Yeah Yeah Yeahs switch into high gear, and I absolutely love it.

Every member of the band is going at full throttle here. Karen O sings with the swagger of a frontwoman who’s been doing this for a while. But this is from their debut album. Brian Chase’s drums are on a rampage of rhythm. And Nick Zinner’s guitar has undergone baptism by fire through a myriad of effects, distortion and a series of riffs that cut to the bone. I have no regrets discovering this song as late as I did. But what the hell was I thinking not going to the Japanese Breakfast / Yeah Yeah Yeahs tour that just passed through? Clearly, I wasn’t thinking at all.

“Oh so while you're growing old under the gun, gun, gun. And I believed them all. Well I'm just one poor baby 'cause well I believed them all.”

"VCR" THE XX (2009)

October 24, 2022

Day 24

The XX created a world where minimal instrumentation, nearly comatose vocals and pregnant pauses came together beautifully. A case where certainly the whole is great than the sum of its parts. The debut album was something that had to be listened to from beginning to end. It was a new musical expression that needed time to truly sink in. “Intro” and “Crystalised” are the more recognizable and ambitious tracks. So I’ll go with a less obvious pick: “VCR”.

“VCR” is about dreaming of big moments while living in these seemingly insignificant ones, like watching VCR tapes. The song meanders with the sleepy vocals where Romy and Oliver take turns. The super simple guitar line miraculously works. Everything on a superficial level may appear to be underwhelming. But the song is transcendent. Any other band plays it, and you might dismiss it. But this is all part of what The XX was trying to accomplish in space. Less is more.

“Watch things on VCRs with me and talk about big love. I think we're superstars. You say you think we are the best thing. But you, you just know. You just do.”

"IMPOSSIBLE GERMANY" WILCO (2007)

October 23, 2022

Day 23

The Wilco catalog is massive. Part of me wishes I could take a break from work and family responsibilities so I can hide somewhere cool like the inside of an empty theater and play every single Wilco album in full. I hope that I would immerge inspired and convicted to never again solely play Yankee Hotel Foxtrot into the ground again. One of my concert buddies must’ve sensed this tendency in me and took me to see Wilco at the Beacon Theatre in NYC five years ago. The set list contained 29 songs, dipping and ducking into various eras of the band’s work. It was awe-inspiring for sure. It was the first time I heard “Impossible Germany”, and it wouldn’t be the last.

If there’s such a thing as a quintessential Wilco song, this might be it. Mid-tempo, highly melodic, and privy to moments of experimentation. While many Wilco songs contain their characteristic cacophany interludes, “Impossible Germany” took a highly unusual approach to the guitar solo. Nels Cline, on his first album with the band, brought his jazz background to the alt country agenda and surprised us with a minimalist approach. It almost feels like the guitar solo is missing notes at first, but then as we keep listening, we hear, appreciate and are blown away by the build-up.

“With no larger problems that need to be erased. Nothing more important than to know someone's listening. Now I know you'll be listening.”

"PLEASE DO NOT GO" VIOLENT FEMMES (1983)

October 22, 2022

Day 22

There’s a great quote that I saw from music journalist Eric Alper: “Music. It either helps you forget everything or it helps you remember everything.” In many cases, there are songs and entire albums that have achieved both for me. I remember hearing the debut album from Violent Femmes and seeing the music as an escape to a less serious, less socially acceptable, liberating world. The last time I saw them in concert was five years ago in a double billing with Echo & the Bunnymen. It was at that point that the music brought me back, helping me to remember everything that was happening when I first discovered the music. Nearly 40 years after the release, the most powerful track in this regard for me is “Please Do Not Go”.

On an album stacked with alternative rock staples (“Blister in the Sun”, “Add It Up”, “Kiss Off”, “Gone Daddy Gone”), “Please Do Not Go” is the track that I look forwarding to hearing the most. It’s endearingly absurd with its lyrics and eccentric, goofy vocal delivery. It was a song that I felt was mine. I still remember listening to it in my bedroom after school on my Sony double-cassette boom box. The band’s analog-style instrumentation was unforgettable, epitomized by the blister-inducing upright bass line from Brian Ritchie.

“How long can the days go on when my love is so strong? And I know I cannot tell a lie, I want to see him go bye. Goodbye, bye, goodbye, bye, bye, bye, bye, bye, bye.”