By Ron Powers In 1987, Billy Idol smashed into the charts with his version of “Mony Mony”: a cover of the ’68 classic by Tommy James & The Shondells. Idol’s version vaulted to No. 1 on the Billboard Hot 100, dethroning a chart-topping rival along the way. Digitally infused with dance-rock punch and Idol’s snarling vocal edge, the track became a stadium chant and party-anthem in one, complete with its notorious shouted call-and-response break. What began as a garage-rock number gained new life as a defiant ’80s classic, melding raw rock grit with pop euphoria and sealing its place in the era’s sonic DNA. Billy and his band get things going with a growling one note bass line accompanied by a four-on-the-floor drum beat. Light tambourine is also added while the kick drum and snare get the listener pumped up. After four quick measures Billy’s iconic rock ’n’ roll vocals hit the speakers with the lines “Here she comes now sayin’, “Mony, Mony” / Shoot ’em down, turn around, come on, Mony”. Blasts of new wave synth chords are also peppered around the verse giving this 1960s hit a proper 1980s shine. As the song winds toward the chorus a pre-chorus featuring a faster vocal melody line is added which helps the energy build. Single strummed distorted guitar chords also ring out and further expand the sound and energy. Finally, we hear Idol shout out the line, “I said yeah” which is echoed by female backing vocalists. This creates a crescendo of fun that finally bursts into the classic rock ’n’ roll chorus of “Mony Mony”. For the chorus a walking guitar line mixes with the drums and creates carefree danceability in the music. This provides a perfect bed of sound for Billy and his background singers to let loose…
By Ron Powers In 1973, Faces offered one of their most tender and enduring works with the title track “Ooh La La.” Co-written by Ronnie Lane and Ronnie Wood, the song closed out what would become the band’s final studio album. Because neither Rod Stewart nor Lane felt their own vocal takes did justice to the song, producer Glyn Johns famously tapped Wood for lead vocal: An unusually personal turn for the guitarist and a choice that would define the track’s emotional resonance. With its simple acoustic frame, wistful melody, and reflective lyrics about regret and learning too late, “Ooh La La” transcended its era. Though it wasn’t a chart juggernaut, the song found renewed life over the decades: cited among the “500 Greatest Songs of All Time” and woven into films, covers, and the enduring legacy of Faces’ bittersweet swan song. Ronnie Lane and Ronnie Wood get the song going with their acoustic guitars, employing a simple two-chord progression along with a lead line foreshadowing the song’s central hook. After the acoustic guitars lay down a folksy and nostalgic emotional base, Wood sings the first verse while using no vocal effects. This creates an up close and intimate feeling and complements lyrics that feature Wood telling a story about his grandfather giving him advice about relationships. Kick drum taps are also heard here and there throughout the beginning of the verse and finally give way to a beat composed of shaker, bass drum, and rimshots. As these musical and lyrical elements weave together, Faces set the stage for a seamless transition to the classic singalong chorus of “Ooh La La”. For the chorus we hear Wood sing out the lines “I wish that I knew what I know now / When I was younger / I wish that I…
By Ron Powers Back in June of 1989 Cher, the Goddess of Pop, released a top 10 hit called “If I Could Turn Back Time”. The song was the lead single off Heart of Stone, her 19th studio album. Interestingly, Cher originally balked at the idea of recording the song presented to her in demo form. However, producer Guy Roche was certain of the song’s potential and convinced Cher to move forward with recording it. Together with songwriter Diane Warren, Roche produced this rock-ballad classic and Cher delivered a performance for the ages. The arena-sized guitars and soaring melodies of “If I Could Turn Back Time” have been filling hearts with its one-of-a-kind feeling for over 3 decades and the song’s timeless qualities will likely continue doing so for the foreseeable future. Session guitarist Steve Lukather gets things started with a gently played chord progression that intersperses palm-muted and open-string strumming techniques. The guitar is processed through large-room reverb and delay effects along with overdrive to give the sound some bite. We also hear subtle and smooth synthesizer chords and cymbal taps sprinkled in creating a subtle shimmer in the music. This simple arrangement sets the stage for Cher’s distinct and powerful voice to deliver the iconic lines: “If I could turn back time / If I could find a way / I’d take back those words that’ve hurt you / And you’d stay”. Here, the structural choice to include the chorus with the intro music sets the song up for success and hooks the listener right from the start. After the intro chorus, things pick up slightly with two note chords palm muted and played with a quarter note rhythm. We also hear kick drum and touches of tom drums join with the guitar giving the verse music a…
By Ron Powers In 1997, The Wallflowers achieved mainstream success with their breakout single, “One Headlight.” The song first gained traction on modern rock radio and quickly became a staple across multiple formats, eventually topping Billboard’s “Mainstream Rock” and “Adult Top 40” charts. Jakob Dylan and his band infuse a stroke-of-midnight romance in every note of this song, and Dylan’s lyrics bristle with an enchanted rejection of a world soaked in ugliness and greed. More than just a radio hit, “One Headlight” became a defining moment for the decade, blending classic rock influences with a modern edge while speaking to the timeless human longing for freedom. Things get started with gently played guitar notes processed with dark and smooth tremolo reverb effects along with a touch of overdrive creating a slight roughness in the sonic texture. Mario Calire’s clean and snappy drum pattern soon joins the guitar adding weight and pop to the sound with every kick and snare drum strike. Additionally, a galloping bass line helps establish the rhythm and adds depth while shimmering organ chords add width and height. All this combines to create the perfect nest of music to support Jakob Dylan’s smooth yet flinty voice deliver heartfelt and poetic lyrics. As the verse winds down, we hear the metallic sound of a resonator guitar played with a slide. This culminates with Dylan belting out a rising melody note lifting the energy as the band crashes into the chorus. Here, heavily overdriven guitar chords ring out every four beats while the organ delivers a pronounced secondary melody. The foundation of the song is carried forward by the bass and drums maintaining a steady rhythm similar to the verses. Meanwhile, Dylan delivers the anthemic and inspiring lines: “Come on, try a little / Nothing is forever / There’s…
By Ron Powers After releasing two singles with meager success, the Liverpool band A Flock of Seagulls struck gold with “I Ran (So Far Away).” Released in 1982, “I Ran” reached #1 in Australia, broke into the top 10 in the US, and helped define the sound of a decade. The song’s low-budget music video also enjoyed heavy rotation on MTV, further boosting its rise in popularity. With its lush synthesizer textures, echo-soaked guitars, and angular melodies, “I Ran (So Far Away)” stands as a pillar of the synth-pop and new wave genres. For the intro music, the Flock deliver a full-band musical arrangement. Here, the music consists of guitar chord strikes that echo in time with the drums, along with a bass synth that has a fuzzy texture and swirling effect. Additionally, the bass guitar tiptoes around the mix alongside smooth drums processed with plenty of reverb. As the band approaches the first verse, the energy of the music increases with organ-like synth chords and additional overdrive effects on the electric guitar. For the verses, the band tone things down, creating an energetic contrast in the music. Here, extended bass synth notes fill the stereo field with a new wave vibe, while the lead guitar comes in and out with a galloping lick. Additionally, drummer Ali Score precisely executes his pattern, giving the music its airtight feel. All these elements create a tasteful sonic design that perfectly supports singer Mike Score’s melody and pulls in the listener with that unmistakable synth-pop sound. Seamlessly transitioning to the chorus, the band adds glistening synth chords, creating more height in the music. Additionally, the lead guitar loosely follows the vocal melody, while guitarist Paul Reynolds and bassist Frank Maudsley provide backing vocals. These additions to the arrangement give the chorus an energetic…
By Ron Powers In 1994, The Offspring burst onto the scene with their massive radio hit, “Come Out and Play”. It all started with the Los Angeles radio station, KROQ-FM, and from there the song spread around the world and up the charts. It even reached number one on Billboard’s “Modern Rock Tracks” and played a central role in establishing punk rock in the mainstream. From its Middle Eastern inspired lead guitar line to Dexter Holland’s one of a kind vocal delivery, “Come Out and Play” offers aggressive punk energy elevated with a timeless pop sense that sounds as fresh today as it did when it was first released. The song begins with clever percussion that utilizes the hi hat stand itself as a percussive instrument. The stand makes a chime-like sound and blends well with the hi hat cymbals and kick drum creating a charming intro to “Come Out and Play”. After eight measures of intro music, we hear the grainy voice of Jason “Blackball” McLean (friend and fan of The Offspring) say the line, “You gotta keep ’em separated”. This is followed by a full band arrangement highlighting heavily distorted rhythm guitar and a zippy lead guitar repeating the same pattern several times. Next, the rhythm guitar moves to palm muted chords while the lead guitar switches to a clean tone and plucks out the iconic Phrygian scale lead line that gives the music of “Come Out and Play” such a distinct flavor. As the first verse starts rolling, we hear the guitar deliver a syncopated chord progression that supports the top line and mixes with the drum beat to create an exhilarating feeling. Additionally, the power of the guitar is increased with a bass line that follows the chords to produce a tonal combination you can really…
By Ron Powers In 2011, two years after the breakup of his band Oasis, Noel Gallagher released his first self-titled album under the band name Noel Gallagher’s High Flying Birds. The album features many stellar tunes by the Britpop legend, but “Dream On” is at the top of the pile for me. Its high-class guitar production and musical arrangement mix with Noel’s smooth, attitude-soaked vocals, creating a feeling that you really can’t find anywhere else. Although the song didn’t reach the level of cultural impact that his work with Oasis achieved, the songwriting abilities of the eldest Gallagher brother shine as brightly as ever in “Dream On.” Things get started with Noel counting off, along with the pick scrapes of his acoustic guitar. As things get rolling, a combination of electric guitar and piano rings out haunting chords, knitted together with quarter-note acoustic strumming. Additionally, the guitars and piano are supported by a rich quarter-note bass line and kick drum, setting the stage for Gallagher to display his melodic abilities. As Noel delivers the verse, he paints a poetic picture—hanging from a ladder, running out of battery, and about to fall. His vocal delivery offers cool, smooth emotion with a subtle touch of humor, once again displaying his mastery of music, melody, and lyric weaving. Transitioning out of the verse, we hear a soaring vocal performance lift the song’s energy as the chorus blooms. Here, the intensity of the drums increases, and the guitars are given some extra edge while the rhythm remains steady. Along with the instrumentation, Gallagher displays the anthemic qualities of his voice while singing the words, “Dream on / Was that songbird singing? / Shout it out for me / Shout it out for me.” Serene yet powerful background vocals emphasize the song’s haunting side, complementing…
By Ron Powers In 2001, pop punk legends Blink 182 released “The Rock Show” as the lead single from their fourth studio album, marking a pivotal moment in the band’s career. The song draws inspiration from lead singer Mark Hoppus’ experience meeting a girl during one of the band’s early shows in San Diego. With its energetic beat, punchy bass line, and carefree guitar riffs, “The Rock Show” perfectly captures the fun and rebellious spirit that made Blink 182 a beloved band for millions of fans. It also played a key role in propelling the album to number one on the US Billboard 200 chart, solidifying the band’s status as one of the most influential forces in rock music. The song kicks off with a four-measure intro, featuring a dynamic full-band arrangement of guitar, bass, and drums. After this, Tom DeLonge switches to a palm-muted guitar chord, played with tight eighth-note downstrokes, adding a rhythmic edge. Drummer Travis Barker joins in with a steady, punchy drum pound, creating an energy surge that propels the band into the first verse. Hoppus’ lyrics in the verse convey the excitement of hanging out with friends and the thrill of meeting a girl for the first time. The musical arrangement is simple yet effective, with palm-muted guitar, steady bass, and precise drums, while occasional open chords inject bursts of energy into the track. Following another round of intro music and a second verse, Blink 182 dives into an irresistibly catchy chorus. The central hooks, placed on the first, third, and fifth lines, are delivered with three-syllable gang vocals, making them instantly memorable. The rhythm section—drums, guitar, and bass—all lock in with the vocal melody, reinforcing the hooks and amplifying the fun and singalong qualities of “The Rock Show”. This is followed by a melodic…
By Ron Powers In 2021, after multiple COVID-caused delays of their Hella Mega Tour with Weezer and Fall Out Boy, Green Day released “Pollyanna” in celebration of the tour finally happening. The song is easily one of the most happy and positive singles Green Day have ever released and, although not a chart topper, it’s one of my all time favorites from the East Bay punk rockers. “Pollyanna” feels like the start of a four-day weekend—perfect weather, and a road trip with the windows rolled down. Its positive message and exuberant music shines with jubilant brilliants all while maintaining the signature edge of Green Day’s pop punk sound. Billie Joe Armstrong and drummer Tré Cool get things started with a ruckus of guitar power and drum smashing. Although it’s only four beats long and lasting for about one second, the energy in the sound grabs the ears and launches the listener through a portal into punk rock heaven. After this the band zip away with a driving beat accompanied by a straight bass line, power guitar chords, and a lead line processed with tight distortion and octave effects. As the verse begins we hear the uplifting and catchy sound of Armstrong’s voice singing the words: “Rainy days and razor blades / I think it’s time to pull up the shades / It’s wonderful / To be alive”. Additionally, the band adds a sleek sounding synthesizer reminiscent of The Cars that creates additional interest and freshness in the music. For the chorus, heavy guitar layers introduce a new chord progression and the drums are pumped up with open hi hat and extra snare strikes. Armstrong’s vocal melody also evolves–injecting the feeling of depth and power into his melody while maintaining the song’s happy tone. For the second half of the chorus…
By Ron Powers In 1978, Bondie released their third studio album, Parallel Lines. The song “One Way Or Another” was one of the most popular songs from the album, playing a critical role in propelling the band to the mainstream. With its growling guitar riffs and pioneering new wave sounds this classic hit struck a chord with listeners that continues to ring out decades later. Although the melody has an upbeat feeling, the lyrics were inspired by a frightening experience that front woman Debbie Harry had with a stalker: An experience that prompted her decision to move to New Jersey. Debbie and the gang get things started with a crunchy guitar riff which was recorded two times with one recording paned to the right speaker and the other to the left. This recording technique gives the sound extra bite and helps the sound stick to the ears. Shortly after the intro guitar, we hear drummer Clem Burke deliver a drum pound accompanied by some decorative lead guitar work by Chris Stein. Once things get moving, bassist Nigel Harrison adds a down beat bass line creating an almost circus like feel to the music. By this point the listener is practically begging to know what the vocals will add to the song and, as you probably already know, Debbie Harry does not disappoint. The first verse begins with the classic lines, “One way, or another / I’m gonna find ya / I’m gonna get ya get ya, get ya, get ya”. Here musical variation is created with low volume lead guitar lines that dance with the vocal melody and enhance the attitude. Meanwhile the rhythm guitar, bass, and drums maintain essentially the same patterns heard during the intro music. The chorus of “One Way Or Another” is as unconventional as it…
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