The 10 best songs with a woman’s name in the title

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Since the first rocks were rhythmically banged against one another, the sweet nothings of a lover’s name were grumbled to it. Since the dawn of popular music, musicians have taken time to devote their creative manoeuvres to the objects of their affection and, thanks to the patriarchal nature of pop music, and the once prescribed audiences of that music, more often than not, songs have been dedicated to women. From The Beatles to The Zombies, every band has seemingly had a go.카지노사이트

There’s a good reason too. Not only did creating a single object of a band’s affection make them more desirable to the glut of teenage girls who were apparently buying their records, achieving accessibility that was previously impossible without such designation. But bands found using a singular name, rather than an amalgamation of a lover, offered the group a character to focus on. When given such a character, the emotions attached can inevitably vary.

Of course, while the usual modus operandi for such a song’s creation is to create a loving piece of poetry, sometimes, these songs can take a turn for the worse and post the named woman as the villain of the piece. Such is the human condition that the variation in these tracks is perhaps one of the most beautiful parts of music — a reason for us to love it.

As music lovers and deep appreciators of trivia, we’ve wasted many hours devising games to cure our boredom between new music releases. One game is to gather as many songs with women’s names in the title as possible. There are quite literally thousands of these tracks, so creating a list as long as our arm is not particularly difficult. What is difficult, however, is whittling this list down to just ten of our favourites.

Below, we’ve done just that.

The 10 best songs with a woman’s name in the title:

‘Sweet Jane’ – The Velvet Underground

Appearing on their fourth and final album led by Lou Reed, Loaded, The Velvet Underground’s ‘Sweet Jane’ was a punchy yet simple rock composition that, once again, referred to the band’s favourite intoxicant, heroin. The lyrics also capture the essence of the rock ‘n’ roll lifestyle in New York – Reed’s bread and butter.

As with much of Loaded, the track doesn’t live up to the groundbreaking creative dynamism displayed in The Velvets’ earlier studio efforts. However, as a piece of high voltage rock ‘n’ roll, ‘Sweet Jane’ is undeniably a classic and still shines brightly with Reed’s unique lyrical style.

‘Peggy Sue’ – Buddy Holly & The Crickets

In 1957, Buddy Holly, one of the founding fathers of rock ‘n’ roll, released one of his most uplifting and enduring hits, ‘Peggy Sue’. The song was written by Jerry Allison, one of Holly’s Crickets, and Norman Petty.

The lovelorn, danceable rock classic was written about Allison’s early romantic muse, Peggy Sue Gerron. It’s widely reported that the song was under an initial working title of ‘Cindy Lou’ and that Allison asked Holly to change the title to win back Gerron after a falling out. The shrewd move worked, and in 1958, Gerron and Allison were married. Sadly, it would only last until their divorce in 1964.

‘Eleanor Rigby’ – The Beatles

This is one of the most memorable and thought-provoking songs from 1966’s Revolver. Amongst George Martin’s beautiful double-string quartet arrangement, the song tells the mystical story of Eleanor Rigby and Father McKenzie. The characters are portrayed in a desperate world of loneliness with the imagery of a bleak churchyard environment painted into the lyrics and framed by the mournful atmosphere of the instrumentals.

Eleanor Rigby is often believed to be inspired by the name McCartney read on a headstone at St. Peter’s Church in Woolton, where he incidentally met John Lennon at a church fete in 1957. However, McCartney has since discounted this origin, recalling that Rigby was actually an old lady whom he used to help with menial house chores in his youth. He once recalled: “I found out that she lived on her own, so I would go around there and just chat, which is sort of crazy if you think about me being some young Liverpool guy.”

‘Angie’ – The Rolling Stones

‘Angie’, appearing on The Rolling Stones’ 1973 album Goats Head Soup, has been the subject of much conjecture over the years. Some speculate that Mick Jagger had written it about David Bowie’s former wife, Angie Bowie, after she caught him in bed with her husband. However, this theory has been debunked by the simple fact that it was primarily written by Keith Richards despite Jagger’s naming on the credits.

With this, one might assume that Richards named the song after his daughter, Angela Richards, who was born in 1972. Alas, Richards cleared the mystery once and for all in his 2010 autobiography, Life. “I wrote ‘Angie’ in an afternoon, sitting in bed,” Richards wrote. “Because I could finally move my fingers and get them in the right place again… It was not about any particular person, it was a name, like ‘Ohhh, Diana.’”

‘Suzanne’ – Leonard Cohen

The troubled poet and hopeless romantic Leonard Cohen was no stranger to writing about his various flirtations, flings and female fantasies. As with most of Cohen’s deeply poetic concoctions, ‘Suzanne’ isn’t as simple as having a singular meaning. Much of the verse is open to interpretation and is crammed with religious imagery and desperation.바카라사이트

We can be certain that Mr Cohen wrote the song with brief lover Suzanne Verdal, the former wife of the Quebec artist Armand Vaillancourt, in mind. “I wrote this in 1966, Suzanne had a room on a waterfront sheet in the port of Montreal,” Cohen noted in his liner notes for his 1975 Greatest Hits album. “Everything happened just as it was put down. She was the wife of a man I knew. Her hospitality was immaculate. Some months later, I sang it to Judy Collins over the telephone. The publishing rights pilfered in New York City, but it is probably appropriate that I don’t own this song. Just the other day, I heard some people singing it on a ship in the Caspian Sea.”

‘Alison’ – Slowdive

British shoegazers Slowdive opened up their second album Souvlaki with ‘Alison’, a hazy drug-fuelled dream of an addict that the narrator can’t seem to shake from his memory. As lead singer Neil Halstead addresses ‘Alison’ with the words, “Your messed up life still thrills me”, the whirring guitars replicate the feeling of a memory slipping away and floating off into the ether.

‘Alison’ bleeds with nostalgia and melancholy that is brought to life with a steady drum beat that allows the mesmeric guitars to take centre stage. The song remains one of the most important tracks from the 1990s era of shoegaze, which was championed by Slowdive, as well as My Bloody Valentine and Ride.

‘Isobel’ – Björk

Appearing on Björk’s masterful second album Post, ‘Isobel’ forms part of a thematic trilogy alongside ‘Human Behaviour’ and ‘Bachelorette’. Featuring lush strings and bouncing trip-hop-inspired beats that contradict each other whilst also working in perfect harmony, ‘Isobel’ tells the story of the title character, who was born in a forest and decided to send certain people a message to “stop being clever and start to function by their instincts.”

The song opens with rich and evocative noises that echo the sound of a forest, which paints the ideal backdrop for Björk to tell the story of Isobel, which she describes as “part autobiography, part storytelling.”

‘Tunic (Song for Karen)’ – Sonic Youth

Written as a tribute to the late singer and drummer Karen Carpenter, ‘Tunic (Song for Karen)’ is one of Sonic Youth’s greatest lyrical feats, helmed by bassist and co-vocalist Kim Gordon. Carpenter died aged just 32 from complications from anorexia in 1983, and Gordon sings from the perspective of the musician up in heaven, “Hey mom, look I’m up here, I finally made it/ I’m playing the drums again too/ Don’t be sad, the band doesn’t sound half bad.”

Gordon claimed that she aimed to “liberate” Carpenter when writing the track, and she does just that. A standout moment in Sonic Youth’s discography, ‘Tunic (Song for Karen)’ is an emotional performance that is driven by the band’s signature guitar sound, which often reflects Gordon’s poignant vocal melody.

‘Amelia’ – Cocteau Twins

On Cocteau Twins’ third album, Treasure, the band gave each track a name, often a mythological-sounding girl’s name, such as ‘Persephone’, ‘Lorelai’, and ‘Beatrix’. The sixth track, ‘Amelia,’ may sound more earthly, yet it is one of the album’s most other-worldly sounding moments.

Elizabeth Fraser’s vocals move with an effortlessly celestial sound, calling from another plane to deliver largely nonsensical lyrics, a form of glossolalia that creates a specific atmosphere rather than an overt meaning. The track floats and twirls through the air with an ethereal presence that could only be created by a band as dream-like as Cocteau Twins.

‘Lola’ – The Kinks

Perhaps The Kink’s best-known track, ‘Lola’ describes the narrator’s confusion over a woman he meets in a Soho club, stating that although he is enthralled by her, he can’t understand how she “walked like a woman but talked like a man.” The song was met with much controversy after it was released due to the implications of Ray Davies’ lyrics, to which he responded by saying, “It really doesn’t matter what sex Lola is, I think she’s alright.”

‘Lola’ was also covered by The Raincoats, becoming one of their biggest hits. Since the release of The Kink’s original version in 1970, the song has often appeared in lists of the greatest songs of all time and will forever be remembered for its inescapably catchy chorus. Blending the sounds of folk rock with vocal performances that often border on something heavier, ‘Lola’ is one of the definitive tracks of the decade.온라인카지노

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