Backwards Beats Podcast

Best Breakup Songs Ever! BONUS

In this special BONUS Sidetrax episode, Dan and Carl explore the ultimate breakup anthems from each decade—spanning the 1970s through the 2020s. Inspired by their not-so-loving take on Here, My Dear by Marvin Gaye, the duo softens their edge to reveal their emotional (and still hilarious) sides. With personal rules, heartfelt justifications, and a few sharp jabs, they each select one breakup song per decade that defines heartbreak, healing, or hell-yeah-I’m-free energy. No honorable mentions—just the definitive list, as decided by the Backwards Beats team.
Key Points
Sidetrax Defined: Bonus episodes where Dan and Carl chase down tangents that didn’t fit in the regular season.
Breakup Song Criteria:
Dan: Songs about being post-breakup—it’s over, not ending.
Carl: A breakup song could be sad, angry, or even joyful—anything that hits emotionally during or after a breakup.
The Format: One song per host, per decade—from the 1970s to today. No deep cuts or obscure indie picks; these are widely relatable tracks.
Tone: Equal parts sincere reflection and comedy. The hosts blend emotional honesty with their usual satire and banter.
This episode is for anyone who’s loved, lost, or just needs the perfect song to ugly cry or dance through it.
 
1970s
Carl's Pick Baby Come Back by Player
Dan's Pick She's Gone by Hall and Oates
1980s
Carl's Pick Purple Rain by Prince
Dan's Pick And So It Goes by Billy Joel
1990s
Carl's Pick Don't Speak by No Doubt
Dan's Pick Nothing Compares 2 U by Sinéad O'Connor
2000s
Carl's Pick Slow Dancing in a Burning Room by John Mayer
Dan's Pick Sparks by Coldplay
2010s
Carl's Pick Don't Gotta Work It Out by Fitz and The Tantrums
Dan's Pick I Love You by Billie Eilish
2020s
Carl's Pick You Should Probably Leave by Chris Stapleton
Dan's Pick Drivers License by Olivia Rodrigo
 
Music Referenced
Abandoned Luncheonette by Hall and Oates
Joe Farrell
Return to Forever by Chick Corea
Bernard Purdie
Go Your Own Way by Fleetwood Mac
I Can't Tell You Why by Eagles
Storm Front by Billy Joel
Lost in Love by Air Supply
All Out of Love by Air Supply
Tragic Kingdom by No Doubt
Spiderwebs by No Doubt
Just a Girl by No Doubt
Nothing Compares 2 U by Prince
Chris Cornell
Grassroots by 311
Lose by 311
Luck of the Draw by Bonnie Raitt
I Can't Make You Love Me by Bonnie Raitt
I Can't Make You Love Me by Adele
I Can't Make You Love Me by Boyz II Men
I Can't Make You Love Me by George Michael
Parachutes by Coldplay
Continuum by John Mayer
Slow Dancing in a Burning Room by John Mayer
Bad Guy by Billie Eilish
Never Gonna Be Alone by Jacob Collier
Ceilings by Lizzy McAlpine
All I Wanted by Paramore
Here, My Dear by Marvin Gaye
Join us next week when we cover our mistake recording of the album Fine Line by Harry Styles. Our mistake, your BONUS!

If You're Feeling Sinister by Belle and Sebastian (#481)

In this milestone 20th episode—and the wrap-up to Season 1—Dan and Carl dive into If You're Feeling Sinister by Belle and Sebastian, the Scottish indie-pop group that emerged in the mid-90s with delicate arrangements, soft-spoken vocals, and sharp lyrical themes. With no prior exposure to the band, both hosts approach this album with fresh ears and an open mind.
As always, this episode blends honest reactions, deep musical insight, and hilarious tangents—including one about mispronouncing “Stuart” and a shout-out to international listeners (Hallo, Germany!). Whether you're new to Belle and Sebastian or already a fan, this conversation explores what makes this album resonate—or not—as part of Rolling Stone’s top 500 albums of all time.
Key Points
Season 1 Finale: This episode marks the conclusion of the first 20 episodes, with reflections on the journey so far.
First Impressions: Neither host had heard Belle and Sebastian before; this leads to an exploration of discovery rather than nostalgia.
Band Background: Formed in Glasgow in 1996, the band takes its name from a French children’s book and TV series.
Album Style: Discussed as part of the "indie" ethos—low-production, clean instrumentation, emotionally intimate songwriting.
Instrumentation: Includes trumpet, cello, and dual vocals with minimal studio manipulation—what Carl calls “using what you’ve got.”
Listener Support Shout-Out: A heartfelt thank you to international fans and a reminder to follow, rate, and review on Spotify and Apple Podcasts.
“If this was a list of albums you should probably listen to, versus the greatest albums, then yeah—it makes more sense.”
Music Referenced
Fine Line by Harry Styles
R.E.M.
Counting Crows
The Decemberists
Iron and Wine
The Point by Harry Nilsson
Weird Al Yankovic
Dr. Demento
Metallica
Wolfpeck
Ben Folds Five
Go Home by Barenaked Ladies
Dark Matter by Pearl Jam
Eddie Vedder
Homeward Bound by Simon and Garfunkel
The Cure
Morrissey
The Smiths
They Might Be Giants
Kind of Blue by Miles Davis
So What by Miles Davis
Carolina in My Mind by James Taylor
Ventura Highway by America
Business Time by Flight of the Conchords
The Most Beautiful Girl (In the Room) by Flight of the Conchords
If You're Into It by Flight of the Conchords
Graduation (Friends Forever) by Vitamin C
Canon in D by Pachelbel
Sweet Jane by Cowboy Junkies
Sweet Jane by The Velvet Underground
Victor Wooten
Live Art by Béla Fleck and the Flecktones
Sinister Minister by Béla Fleck and the Flecktones
Join us next week for some bonus content... The best breakup songs from the 1970s to today!

Bizarre Ride II The Pharcyde by The Pharcyde (#482)

Dan and Carl ride the rollercoaster that is Bizarre Ride II the Pharcyde, the kaleidoscopic debut from L.A.’s most eccentric hip-hop quartet. Between hilarious skits, jazz-laced beats, and outlandish rhymes, the duo dives into a '90s rap record that defied the gangsta template of its era. Along the way, they unpack the group's roots in dance, Jay Swift’s genius production, and why this album still slaps decades later.
Key Points
Released in 1992, Bizarre Ride II the Pharcyde features 16 tracks and runs just under an hour, including several skits that blur the line between comedy and chaos.
Imani, Slimkid3, Bootie Brown, and Fatlip formed initially as dancers before emerging as one of hip-hop’s most playful and unpredictable crews.
Producer Jay Swift helped shape their jazzy, left-field sound, contrasting sharply with the prevailing gangsta rap of the era.
Music Referenced
J Dilla
Papa's Got a Brand New Bag by James Brown
Funky Drummer by James Brown
Cold Sweat by James Brown
Sing a Simple Song by Sly and the Family Stone
Main Squeeze by Quincy Jones
Summer in the City by Quincy Jones
Time to Change by Brady Bunch
Hey Last Minute by The Meters
Beale Street by Donald Byrd
Honeysuckle Rose by Thelonious Monk
Autumn Serenade by John Coltrane
It's a New Day by Skull Snaps
Jam On It by Newcleus
Prince
Are You Experienced by Jimi Hendrix
I Wish by Skee-Lo
Licensed to Ill by Beastie Boys
Brass Monkey by Beastie Boys
You Be Illin by Run DMC
Walk This Way by Run DMC
LL Cool J
Debbie Harry
Rapture by Blondie
A Tribe Called Quest
De La Soul
Jurassic 5
Wu-Tang Clan
E. 1999 Eternal by Bone Thugs-N-Harmony
Tha Crossroads by Bone Thugs-N-Harmony
1st of tha Month by Bone Thugs-N-Harmony
Gimme Some More by Busta Rhymes
Ms. Jackson by Outkast
Hey Ya! by Outkast
B.O.B. (Bombs Over Baghdad) by Outkast
Humble Mumble by Outkast
Kendrick Lamar
Twista
Rap God by Eminem
Daydreaming by Harry Styles
Ice-T
N.W.A
The Chronic by Dr. Dre
Most Def
Talib Kweli
The Roots
Parents Just Don't Understand by DJ Jazzy Jeff & The Fresh Prince
Join us next week when we dive into If You're Feeling Sinister by Belle and Sebastian.

The Muddy Waters Anthology by Muddy Waters (#483)

In Episode 18 of Backwards Beats, Dan, Carl, and the podcast's first-ever guest, Lee McAdams from @squatchsounds, dive deep into the iconic blues legacy of Muddy Waters through the expansive 50-track compilation The Anthology (1947–1972). With decades of music to explore, they abandon the usual track-by-track format for a broader, decade-spanning approach, picking personal favorites and discussing Muddy’s profound influence on rock, blues, and guitar-driven music. Along the way, they blend heartfelt appreciation with irreverent humor, touching on everything from harmonica roots to slide guitar legends.
Music Referenced
I Just Wanna Make Love To You by Foghat
Rolling Stones
Muddy Waters
Primus
Robert Johnson
Charlie Patton
Son Sims
Son House
Blind lemon Jefferson
Blind Blake
Big Jo Williams
Catfish Blues by Jimmy Hendrix
Voodoo Child by Jimmy Hendrix
Rollin' and Tumblin' by Eric Clapton
rollin' and Tumblin' by Canned Heat
rollin' and Tumblin' by Bob Dylan
Allman Brothers
Humble Pie
Supertramp
Hoochie Coochie man by Fear
You Shook Me by Led Zeppelin
Chuck D
Public Enemy
Keith Richards
Stevie Ray Vaughn
Corey Wong
BB King
Derek Trucks
Joe Bonamassa
Steely Dan
Eddie Cleanhead Vinson
Marcus King
Marcus Miller
Chris Stapleton
Cosmic Factory
McAdams Brothers
Albert King
Buddy Guy
Freddie King
Howlin Wolf
Beefheart
Primus
Rollin' and Tumblin' by Jeff Beck
You Shook Me by Jeff Beck
Jelly Roll
I'm a man by Bo Diddley
I'm a modern man by Cheech and Chong
Tyrone Shoelaces
Blue Guitar by Earl Hooker
You Shook Me All Night Long by AC/DC
Cypress Hill
Jump Around by House of Pain
Bone Thugs N Harmony
Bruno Mars
Herbie Hancock
Fugees

Born This Way by Lady Gaga (#484)

In this high-energy episode of Backwards Beats Podcast, Dan and Carl dive into Lady Gaga’s bold and eclectic 2011 album, Born This Way (Rolling Stone’s #484). Recorded during a sleepy spring evening, the hosts bring humor, insight, and deep musical analysis to Gaga’s electronic, dance-driven celebration of identity, empowerment, and defiance. They explore Gaga's musical fandom, theatrical flair, and fearlessness in confronting social issues, all while unpacking the album’s rich production and music theory layers — and of course, throwing in a few fake ads and laughs along the way.
Key Points
Context & Impact: Born This Way is rooted in Gaga’s advocacy for self-love and LGBTQ+ rights, wrapped in high-energy dance pop with religious and personal themes throughout.
Production & Style: A diverse producer roster (including RedOne, DJ White Shadow, and Mutt Lange) creates a vibrant mix of electronic subgenres, classic rock influences, and theatrical flair.
Musical Theory Insights:
Frequent use of minor keys, Lydian mode lifts, and even rare touches like Locrian melodies.
Club-ready four-on-the-floor beats dominate, but Gaga infuses operatic intros, unexpected chord shifts, and stylistic surprises.
Standout Tracks:
"Marry the Night" – Sets a cinematic and energetic tone with a Lydian bridge lift.
"Born This Way" – A defining empowerment anthem influenced by Carl Bean’s 1977 song.
"Government Hooker" – Dark, industrial flavors and a hint of Locrian melody.
"Americano" – Flamenco and mariachi influences collide with theatrical flair.
"You and I" – A country-rock departure featuring Brian May of Queen.
Album Flow:
Strong, unified front half; a brief slump in the middle; a rallying, arena-sized finish with "You and I" and "Edge of Glory."
Cultural Commentary:
Discussion of Gaga’s homage to Madonna, her complex relationship with religion, and her legacy of embracing musical diversity and showmanship.
Music Referenced
Harry Styles
Kenny Loggins
Shakira
Bonnie Raitt
Marvin Gaye
Kylie Minogue
U2
AC/DC
Def Leppard
Shania Twain
Radio Gaga by Queen
We Will Rock You by Queen
The Beatles
Love Song by The Cure
I Was Born This Way by Carl Bean
Nine Inch Nails
DJ White Shadow
Die Eier von Satan by Tool
Rihanna
La Bouche
Real McCoy
Crazy Nights by Kiss
Turn On The Night by Kiss
My Way by Kiss
God Gave Rock 'N' Roll to You II by Kiss
Shout It Out Loud by Kiss
Iron Maiden
Bruce Springsteen
Never Gonna Get It by En Vogue
Reload by Rob Zombie
Metallica
Brian May
Join us next week when we cover The Anthology by Muddy Waters

I Want To See The Bright Lights Tonight - Richard & Linda Thompson (#485)

In this episode, Dan and Carl dive deep into I Want to See the Bright Lights Tonight, the 1974 debut collaborative album by British folk-rock icons Richard and Linda Thompson. The duo explores the album's rich musical textures, varied instrumentation, and emotional range, offering technical insight and personal reactions. From Celtic-tinged folk ballads to moody rock moments, the album’s instrumentation (featuring mandolins, tin whistles, crumhorns, and concertinas) celebrates diverse timbres and musical ambition.
Carl shares the surprising story behind his family’s connection to vinyl needle manufacturing, while Dan breaks down modal scales like Mixolydian and Phrygian with real-time examples. The hosts unpack the slow-burning melancholy of tracks like “Withered and Died,” the pub-ready energy of “We Sing Hallelujah,” and the absolute musical brilliance of “The Great Valerio.”
Key Points
Album Context: Released in 1974 on Island Records; Richard and Linda Thompson's first official album as a duo.
Genre Blending: A fusion of British folk, country, and folk-rock with inventive instrumentation and experimental production choices.
Thematic Core: Recurring themes include disillusionment, longing, loneliness, and spiritual searching.
Instrument Highlights: Features unique folk instruments like the crumbhorn, concertina, and tin whistle, alongside rich guitar textures and vintage electric piano tones.
Music Referenced
Fairport Convention
Gary Rafferty
Lil Wayne
Anthrax
Bob Dylan
Joan Baez
Joni Mitchell
Courtney Love
Joan Jett
Ann Wilson
Heart
Stairway to Heaven by Led Zeppelin
Nancy Wilson
Jason Bonham
John Bonham
Funeral by Arcade Fire
Backseat by Arcade Fire
Blueberry Hill
Yellow by Coldplay
Hocus Pocus by Focus
I'll Be Around by The Spinners
This Must Be the Place (Naive Melody) by Talking Heads
Closer by The Chainsmokers
AC/DC
Grateful Dead
Creep by Radiohead
Bohemian Rhapsody by Queen
Nick of Time by Bonnie Raitt
Kurt Cobain
Stone Temple Pilots
Nirvana
Together Again by Buck Owens
Malagueña by Roy Clark
Vince Gill
Herbie Hancock
Steely Dan
Cool and the Gang
Black Midi
Lewis Cole
Mars Volta
Periphery
Rush
King Crimson
Join us next week when we cover Born This Way by Lady Gaga

Continuum - John Mayer (#486)

Overview
In Episode 15, Dan and Carl finally hit a record they both adore—John Mayer’s Continuum, ranked #486 on Rolling Stone Magazine’s 500 Greatest Albums of All Time. The fanboying is real, but so is the deep analysis. This episode covers Mayer’s transition from pop darling to a serious blues craftsman, from subtle production choices to guitar tone breakdowns and harmony dives. With legendary players like Steve Jordan and Pino Palladino, Continuum serves up soulful grooves, emotional depth, and masterful songwriting.
Key Points
Personal Bias Admitted: Dan and Carl are massive fans of Continuum—this is one of their “desert island” albums.
Mayer’s Career Shift: Discussion of Mayer’s evolution from Room for Squares pop fame to a blues-rooted, emotionally introspective artist.
The Trio Effect: Deep appreciation for the influence of the John Mayer Trio (with Steve Jordan and Pino Palladino) on this record’s vibe.
Guitar Tone & Production: Praise for Steve Jordan’s dry snares, Mayer’s tasteful guitar phrasing, and Charlie Hunter’s influence.
Lyrical Depth: Songs like “Belief” and “Gravity” reveal Mayer’s internal struggles, philosophical reflection, and social commentary.
Theory Corner Highlights: Dan breaks down modal shifts, bridge tricks, and harmonic depth in “Gravity” and “Stop This Train.”
Emotional Arc: The album’s track list flows through apathy, introspection, fame fatigue, relationship collapse, and hard-won wisdom.
Music Referenced
Room for Squares by John Mayer
Heavier Things by John Mayer
Battle Studies by John Mayer
Born and Raised by John Mayer
The Search for Everything by John Mayer
Try! by John Mayer
Your Body Is a Wonderland by John Mayer
Daughters by John Mayer
Steve Ray Vaughan
Jimi Hendrix
Burn One Down by Ben Harper
Steal My Kisses by Ben Harper
Charlie Hunter
Voodoo by D'Angelo
Bonnie Raitt
Coldplay
Chris Martin
Never Gonna Be Alone by Jacob Collier
Lizzy McAlpine
I've Got Dreams to Remember by Otis Redding
What I Am by Edie Brickell
Stay Awhile by Edie Brickell
More Than Words by Extreme
Jack Black
On Bended Knee by Boyz II Men
Adele
Satellite by Dave Matthews Band
Lindsey Buckingham
Stevie Nicks
Simon & Garfunkel
Paul Simon
Peter Gabriel
Nuno Bettencourt
Anita Baker
James Taylor
Stevie Nicks
Billy Joel
Sting
Snarky Puppy
Crazy by Gnarls Barkley
Jennifer Love Hewitt
Jessica Simpson
Join us next week when we cover I Want To See The Bright LIghts Tonight by Richard and Linda Thompson
Got thoughts? Disagree? Just want to scream about “Vultures”? Hit us up:📧 backwardsbeatspodcast@gmail.com📷 Instagram: @backwardsbeatspodcast🌐 Bluesky: @backwardsbeats

Episode 14: Damaged by Black Flag

In this episode of Backwards Beats, Dan and Carl tackle Black Flag's ferocious 1981 debut, Damaged — an album that defines hardcore punk with raw energy, cathartic aggression, and DIY ethos. Coming in at #487 on Rolling Stone's list, Damaged is an iconic record that helped shape the sound and spirit of American punk. The guys also kick things off by recapping their weekend trip to the GroundUP Music Festival in Miami and all the incredible artists they encountered.
Key Points
🎶 Punk Iconography: Damaged is discussed as a landmark hardcore punk record with a gritty visual and sonic aesthetic — from its cover art to its aggressive sound and anti-establishment themes.
🎤 Band Origins & Lineup Shifts: Formed in 1976 as Panic, Black Flag underwent several member changes before Damaged, with early members like Keith Morris (later of Circle Jerks) and the arrival of Henry Rollins.
🧠 Greg Ginn & DIY Spirit: Founding guitarist Greg Ginn created SST Records to independently release Black Flag’s music, setting a precedent for punk labels and the underground music scene.
📚 Cultural Commentary: The band’s art and lyrics often critique societal norms, domestic life, and conformity — giving Damaged a raw, confrontational stance.
🥁 Musical Style: Fast, furious, and over in 35 minutes — the album exemplifies hardcore punk: stripped-down production, relentless tempo, and emotional outbursts.
🌀 Descent into Madness: From the rebellious intro "Rise Above," the arc of the album slowly becomes darker and more self-absorbed until the traumatic finale of "Damaged I"
🏝️ GroundUP Music Festival Recap: Carl and Dan share highlights from the Miami festival hosted by Snarky Puppy, including performances by Eric Gales, Bill Frisell, John Scofield, and more.
Music Referenced
Snarky Poppy
Eric Gales
Bill Fruzel
John Scofield
Madison McFarron
Never mind the bollocks by Sex Pistols
Misfits
Hüsker Dü
Sonic Youth
Minutemen
Circle Jerks
Bon Jovi
Fugazi
Minor Threat
True colors by Cindy Lauper
Ornette Coleman
Ed Sheeran
Aja by Steely Dan
Bodhisattva by Steely Dan
Fresh Fruit for Rotting Vegetables by Dead Kennedys
In God We Trust by Dead Kennedys
Ill in the Head by Dead Kennedys
Nazi Punks Fuck Off by Dead Kennedys
Fits Like a Glove by Kiss
Seek & Destroy by Metallica
Rage Against the Machine
Fuck the Police by NWA
The Doors
The Urge
Urge Overkill
Superman by Goldfinger
Crucial Bar-B-Q by Murphy's Law
Manic Depression by King's X
Manic Depression by Jimi Hendrix
Join us next week when we discuss album 486, Continuum by John Mayer

Episode 13: The Stooges by the Stooges

This week, Dan and Carl dive into the raw and rebellious energy of The Stooges’ self-titled 1969 debut. A proto-punk classic that laid the foundation for punk and garage rock, this album is as chaotic as it is influential. From Iggy Pop’s unhinged vocals to Ron Asheton’s sludgy guitar riffs, we break down why this record was both ahead of its time and completely out of control.
Key Points
Background & Context – The late 60s rock scene, the rise of punk influences, and how The Stooges fit into the era.
Album Breakdown – Track-by-track discussion, including the hypnotic repetition of We Will Fall and the raw power of I Wanna Be Your Dog.
Production & Sound – John Cale’s role in shaping the album’s sound and how it differs from later Stooges releases.
Legacy & Influence – How The Stooges paved the way for punk, influencing everyone from the Sex Pistols to Nirvana.
Would You Hit It? – Do we think this album still holds up, or is it just a messy relic of the past?
Music Referenced
The Stooges by The Stooges
Fun House by The Stooges
Raw Power by The Stooges
Iggy Pop
The Doors by The Doors
Slipknot
Marilyn Manson
Velvet Underground
Jimi Hendrix
New York Dolls
Ozzy Osbourne
Chapell Roan
Rihanna
Rolling Stones
Youth and Young Manhood by Kings of Leon
Here, My Dear by Marvin Gaye
Bonnie Raitt
Never Mind the Bollocks by Sex Pistols
Ramones
Kurt Cobain
Little Richard
Metallica
The Beatles
I Kill Children by Dead Kennedys
Mother's Milk by Red Hot Chili Peppers
Suicidal Tendencies
Drunk by Thunder Cat
 
Contact Us
Share Your Thoughts: Email us at backwardsbeatspodcast@gmail.com
Join us next week when we cover album 487: Damaged by Black Flag

Episode 12: Back to Mono by Phil Spector

In this episode, Dan and Carl dive into Back to Mono (1958-1969), a massive 73-song compilation produced by Phil Spector. The duo discusses the challenges of covering such an extensive box set, the impact of the "Wall of Sound" production style, and how Spector’s legacy complicates the album’s place on Rolling Stone’s 500 Greatest Albums of All Time. Instead of focusing on Spector, they highlight the incredible artists featured on this compilation, including The Ronettes, The Righteous Brothers, and Darlene Love.
Key Points
The Wall of Sound – How Phil Spector’s signature production style shaped 1960s pop music and why it works (or doesn’t) for certain songs.
Spector’s Legacy – The controversy surrounding Phil Spector and how Rolling Stone drastically changed the album’s ranking over the years.
Artist Highlights – Deep dives into standout performances from The Crystals, The Righteous Brothers, Tina Turner, and more.
Unchained Melody Stands Above – Why Unchained Melody by The Righteous Brothers remains an all-time classic and one of the best vocal performances ever recorded.
Obscure Gems & Oddities – Hidden gems like Pretty Little Angel Eyes by Curtis Lee and unusual tracks like He Hit Me (And It Felt Like a Kiss) by The Crystals.
Phil Spector’s Christmas Influence – A discussion of how A Christmas Gift for You shaped holiday music, featuring Christmas (Baby Please Come Home) by Darlene Love.
Too Much of a Good Thing? – Does this compilation truly belong on Rolling Stone’s 500 Greatest Albums list, or is it a historical artifact?
Music Referenced
With the Beatles by The Beatles
Hold Me Tight by The Beatles
Pet Sounds by The Beach Boys
A Christmas Gift for You by Bing Crosby
Michael Bublé
Elvis Presley
Frankie Valli
Mexico by James Taylor
Have a Good Time by Paul Simon
Heartbreaker by Pat Benatar
Love Gun by Kiss
Then She Kissed Me by Kiss
Then She Kissed Me by Gary Glitter
I Will Always Love You by Whitney Houston
Christmas (Baby Please Come Home) by U2
Take Me Home Tonight by Eddie Money
Under the Boardwalk by The Drifters
Save the Last Dance for Me by The Drifters
Grease Soundtrack (The Motion Picture Soundtrack) by Shanana
Grease Soundtrack (The Motion Picture Soundtrack) by Olivia Newton-John
Happy Xmas (War Is Over) by John Lennon
Wonderful Christmastime by Paul McCartney
Last Christmas by Wham!
Join us next week when we cover album 488, The Stooges, by The Stooges