Cheap Trick karaoke - Reach Out @ImperfektKaraoke

Imperfekt Karaoke "Reach Out" is a song by American rock band Cheap Trick, released in 1981 as a single from the soundtrack of the 1981 film Heavy Metal. It was written by Bob James and Pete Comita, and produced by Roy Thomas Baker. Although the film's soundtrack album reached No. 12 on the Billboard 200, "Reach Out" was not a commercial success and failed to make a chart appearance.

The single is the only release from Cheap Trick to feature Pete Comita as bassist. Comita had replaced original bassist Tom Petersson in 1980; however, Comita would also leave the band a year later, following the completion of the 1980-81 World Tour to promote All Shook Up.

Speaking to Ultimate Guitar in 2009, Nielsen said of the song: "[Comita] wrote that song with a guy named Bob James. He originally told us he had written it, but we later found out, he didn't write it [alone]."

"Reach Out" was released before the soundtrack album. At the time, Billboard reported that some of the soundtrack would be released as singles on the artists' own label and others on Full Moon/Asylum. Walter Yetnikoff, president of CBS Records at the time, allowed Irving Azoff and Full Moon to release "Reach Out". Azoff told Billboard: "We're putting out the Cheap Trick cut on Full Moon. Walter said "You can release it; obviously you guys would work it harder than we would because we don't have a Cheap Trick album to sell right now."

The single was released on 7" vinyl in the US only by Full Moon and Asylum Records. The B-side, "I Must Be Dreamin'", was also featured on the Heavy Metal soundtrack. It was written solely by Nielsen and also produced by Baker.

Upon release, The Milwaukee Journal commented: "...but the real treat of the LP is one of the two Cheap Trick cuts, "Reach Out," penned, in part, by the group's new bass player as of a year ago, Pete Comita. Cheap Trick hasn't done anything this good in a long time." Record World called it a "throbbing rocker [that] spotlights Robin Zander's vocal hysteria and Rick Nielsen's kamikaze guitar runs." Bret Adams of AllMusic spoke of the song in a review of the Heavy Metal soundtrack, noting "Cheap Trick's "Reach Out" and "I Must Be Dreamin'" rely more on synthesizers than power-pop guitars."

In 2016, Rolling Stone included the song in their list "10 Insanely Great Cheap Trick Songs Only Hardcore Fans Know". Author Tom Beaujour described the song as a "soundtrack gem", adding: "The song's introductory buzzing synth riff and outro motif are very much the products of a bygone era, but drummer Bun E. Carlos infuses "Reach Out" with a post–Ringo Starr swing that is truly timeless.

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updated 2 years ago

Cheap Trick karaoke - Reach Out

Imperfekt Karaoke 2024-07-11 | "Reach Out" is a song by American rock band Cheap Trick, released in 1981 as a single from the soundtrack of the 1981 film Heavy Metal. It was written by Bob James and Pete Comita, and produced by Roy Thomas Baker. Although the film's soundtrack album reached No. 12 on the Billboard 200, "Reach Out" was not a commercial success and failed to make a chart appearance.

The single is the only release from Cheap Trick to feature Pete Comita as bassist. Comita had replaced original bassist Tom Petersson in 1980; however, Comita would also leave the band a year later, following the completion of the 1980-81 World Tour to promote All Shook Up.

Speaking to Ultimate Guitar in 2009, Nielsen said of the song: "[Comita] wrote that song with a guy named Bob James. He originally told us he had written it, but we later found out, he didn't write it [alone]."

"Reach Out" was released before the soundtrack album. At the time, Billboard reported that some of the soundtrack would be released as singles on the artists' own label and others on Full Moon/Asylum. Walter Yetnikoff, president of CBS Records at the time, allowed Irving Azoff and Full Moon to release "Reach Out". Azoff told Billboard: "We're putting out the Cheap Trick cut on Full Moon. Walter said "You can release it; obviously you guys would work it harder than we would because we don't have a Cheap Trick album to sell right now."

The single was released on 7" vinyl in the US only by Full Moon and Asylum Records. The B-side, "I Must Be Dreamin'", was also featured on the Heavy Metal soundtrack. It was written solely by Nielsen and also produced by Baker.

Upon release, The Milwaukee Journal commented: "...but the real treat of the LP is one of the two Cheap Trick cuts, "Reach Out," penned, in part, by the group's new bass player as of a year ago, Pete Comita. Cheap Trick hasn't done anything this good in a long time." Record World called it a "throbbing rocker [that] spotlights Robin Zander's vocal hysteria and Rick Nielsen's kamikaze guitar runs." Bret Adams of AllMusic spoke of the song in a review of the Heavy Metal soundtrack, noting "Cheap Trick's "Reach Out" and "I Must Be Dreamin'" rely more on synthesizers than power-pop guitars."

In 2016, Rolling Stone included the song in their list "10 Insanely Great Cheap Trick Songs Only Hardcore Fans Know". Author Tom Beaujour described the song as a "soundtrack gem", adding: "The song's introductory buzzing synth riff and outro motif are very much the products of a bygone era, but drummer Bun E. Carlos infuses "Reach Out" with a post–Ringo Starr swing that is truly timeless.

If you're feeling generous or appreciative, you can send virtual tips here:

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if you're ever in Portland, Oregon and you want to sing the songs live at my karaoke shows, find them here: www.karaokeaddiction.com

King Gizzard & The Lizard Wizard karaoke - Digital Black (w/video background)

Imperfekt Karaoke 2026-09-17 | kglw.net/song/digital-black/about

Written By: Mackenzie.
Song history written by TimelandIsWacky

Following the introduction heard in “Welcome To An Altered Future”, “Digital Black” describes the dystopian future its narrator hinted at. In this future humanity is faced with an existential threat — most likely climate change. Unwilling to die, they transfer their consciousness to computers, creating a society of computerized people who have no connection to humanity.

The song’s narrator (Han-Tyumi) is the last human born through natural means and is disillusioned with perpetual, unending life. Any light the world may have had has faded into digital black — as dark as it can get. Outside of the song’s lyrics, which feature many unique words like “lugubrious” and “caliginous,” “Digital Black” is a brutal track with loads of feedbacking, delayed guitars, a steady motorik beat and a quick callback to the story’s opening riff.

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King Gizzard & The Lizard Wizard karaoke - Digital Black

Queen karaoke - Sweet Lady (w/video background)

Imperfekt Karaoke 2026-09-16 | explodedqueen.wordpress.com/2016/02/23/sweet-lady/#:~:text=There's%20an%20old%20song%20called,a%20bit%20hard%20to%20understand.

Sweet Lady
23 February 2016 | Ava Foxfort
SweetLady

In probably the most supremely Queenly contrast ever, Brian jumps from folksy to rocksy, and from wistful to kinky.

And from the sublime to the ridiculous, but still some kind of wonderful.

For a start, one of my favourite lines ever:

You call me sweet like I’m some kind of cheese

Sweet Lady.

A Roger Taylor quote hoiked from wikipedia sums something up beautifully*:

There’s an old song called “Sweet Lady”, which Brian wrote, on A Night At The Opera, and he was saying, ‘I want it to go like this,’ and he wanted it to do three different things at once and that was a bit hard to understand.

So here we have Queen’s only really punchy hard rock song on the album…and it’s in waltz time.

I love these guys.

Semantically, it’s Brian exploring relationships, and it feels a bit more switch, although possibly this is just the second verse being the Sweet Lady, talking back to the narrator.

I want to read it as deeply submissive, a dommed relationship to accompany the stormtrooper. But really, I think we’re just hearing people talking past each other. It’s not about Brian wanting someone to sweet to put him on a lead, it’s just a straightforward argument.

The narrator gets the call, complains about the implied jealousy, and gets sarky. The response is just as irate, possibly missing the irony.

And the bridge leaves us with a pretty banal sentiment, that doesn’t really approach the incident.

So despite sounding like a pretty sexy rock song, it’s actually just a banal fight, pretty damning in its pointlessness.

But, well, at least it sounds pretty sexy.

Brian does do something really clever with the riff, which sounds more urgent and pulsing than you’d expect from anything in 3/4 time. It’s catchy and exciting. The intro isn’t as thrilling as we like from a Queen track, but it’s solid, and ropes you in.

And of course, Freddie sings the hell out of it. Actually managing to get genuine venom into the cheese line.

There’s also something nice in the banal bridge also being the only bit in 4/4, just to undermine itself.

I’m going to give this one to the guitars, basically. The album needed a traditional rocker, and it got one, with a heck of a riff (and actually, I almost prefer the way the walking up return from the riff used in the verse).

The song surges on into all of these little weird variations on itself, pulling in different energies and ideas, but still keeping that pulse going through clever manipulation of guitar effects.

The chorus has such a weird underpinning guitar part, bursting into these weird little knots of guitar, losing the laid back groove for something more urgent, but less aggressive.

And then there’s guitar solo finale, various repeating motifs playing over each other, lots of delay and echo, lots of Brian, basically.

It’s not the best thing here, but it’s still got it going on.

I wants a groove, and so it nails one.

Can’t complain, realistically.

Sweeter than some cheeses, but with a bite of bitterness.

Definitely worth a taste.

*That something may simply be that he had little idea what was going on in the band, and that’s why I love him.

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Queen karaoke - Sweet Lady

Bugsy karaoke - Drunk (w/video background)

Imperfekt Karaoke 2026-09-16 | bugsy.bandcamp.com/track/drunk

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drunk
from Teratoma by bugsy

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lyrics
last time we were gonna talk
about how hed changed because id had enough
but then he got too drunk to talk to me
so i took care of him like a baby
and last time i spent the night
i told him about the things he did to make me cry
but then he started talking about himself again
and i watched myself turn back into nothing

did you do the things
that you said you would
when we last spoke?

and i dont wanna start a battle
and i dont wanna start a war
so just blame it all on me
if thats the only way you learned how to be
and i could swear that smile is evil
but my best friend should know whats best
he is predator and i am prey
if i give in maybe hell go away

did you do the things
and i swear were good
did you make the changes
that you said you would?
credits
from Teratoma, released February 6, 2020
license
all rights reserved
tags
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alternative indie grunge bubblegrunge garage rock indie punk indie rock Minneapolis
about
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bugsy
Minneapolis, Minnesota

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indie-rock-adjacent
minneapolis, MN

shows
Nov 3
A&R Music Bar
Columbus, OH
Nov 9
Shrine Social Club

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Bugsy karaoke - Drunk

Leonard Cohen & U2 karaoke - Tower Of Song (w/video background)

Imperfekt Karaoke 2026-09-16 | faroutmagazine.co.uk/u2-leonard-cohen-perform-tower-of-song-live

Remembering when U2 and Leonard Cohen shared the stage to sing ‘Tower of Song’
Joe Taysom
@josephtaysom
Thu 18 June 2020 9:17, UK

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Today we are taking a trip down memory lane through the Far Out archives and remembering the late Leonard Cohen, revisiting the moment when he came out of retirement to perform ‘Tower of Song’ alongside U2 in a New York nightclub in May 2005.

The legendary songwriter hadn’t performed publically since his previous tour which ended some twelve years prior in 1993. The period between when he would next step foot on stage was a fascinating transitional point in Cohen’s life, one which he spent a vast amount of time at a Buddhist monastery on Mount Baldy in California.

As the world pined for Cohen’s art as he spent over a decade off-grid only made his fans realise just how important his voice was, his music offering a vital social commentary in reflection to the world around him. While he had no interest then of returning to the stage in 2005, filmmaker Lian Lunson made the decision to document a pair of Hal Willner-produced shows featuring the likes of Rufus Wainwright, Nick Cave, Jarvis Cocker for a documentary titled Leonard Cohen: I’m Your Man.

Cohen didn’t actually attend any of the tribute shows in person which is understandable as it would have been a somewhat surreal experience. However, he did come to an agreement to perform his 1988 classic ‘Tower of Song’ with U2 at the Slipper Room in New York.

The performance wasn’t open to the public, but it would light a fire in Cohen that would lead him slowly returning back to the stage. Two years later, the musician would finally announce his comeback tour which ended up running for well over two years, circling the globe many times over, playing bigger stages each time with the tour dates quickly evolving from intimate Canadian theatres to vast arenas.

Speaking to Q Magazine in 1991, Cohen said this on the track: “‘Tower of Song’ is that place where the writer is stuck. For better or worse, you’re in it. I’ve come this far down the line. I’m not going to turn around and become a forest ranger or a neurosurgeon. I’m a songwriter.”

After his tragic death three years later, U2 would twice pay tribute to Cohen during their stadium show in front of 50,000 fans at Toronto’s Rogers Centre. “Tonight we hold onto some things, as you let go of some others,” Bono said.

Adding: “I’m not quite sure how to let it go, but I know tonight I’m holding onto the music of Leonard Cohen, thinking about it today. It’s been on my mind. He’s an addiction I’m not ready to give up, so I’m going to sing this one to Leonard Cohen.

“Just think. Think of Leonard. He called us friends. Really, we were just fans. That was okay by me. For Leonard Cohen. Stay with me.”

The sky was then lit with 50,000 smartphones in tribute to Cohen which warmed the heart of a mourning Bono, who added: “That’s beautiful. Stars coming out for Leonard. Different part of the country, but you know he loved this city. Stay with me now. I want to try something,” he said, and then started singing Cohen’s classic ‘Suzanne’.

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Leonard Cohen & U2 karaoke - Tower Of Song

dodie karaoke - Cool Girl (w/video background)

Imperfekt Karaoke 2026-09-16 | https://sites.psu.edu/meganblogs/2021/03/12/p5/#:~:text=The%20song%20touches%20on%20the,whoever%20they're%20romantically%20interested%20in.

Dodie, or “dodie” as she stylizes it, is a 25 year old singer-songwriter from Essex. She has released three EPs and has nearly three million monthly listeners on Spotify. The singer began her career on YouTube, where she posted covers and plenty of original songs.

Her debut album, Build A Problem, is being released this year and the song that I’ve had on repeat this week is a single off the album! The track is titled “Cool Girl” and it was first released on dodie’s second YouTube channel as a demo. The track was originally a part of a lockdown-inspired project, in which dodie recorded and posted many demos in April, also known as ALOSIA (A Lot of Songs in April). “Cool Girl” was one of my favorites.

The song touches on the issue that many girls face, in which they push parts of themselves down to be appealing to whoever they’re romantically interested in. She leaves the time they don’t speak to each other “on the side with the nights you didn’t call me back”, pretending that it doesn’t bother her so she appears chill and laid back. In reality, it upsets her. But, she feels like she has to come off as this cool, unique girl who isn’t obsessive or overdramatic like “other” girls. In the pre-chorus, dodie sings about how she “swore I wouldn’t play the age-old game” and invest in a toxic and unhealthy relationship, but she has seen other girls “ask all your lovers away”. In these lines, dodie shows that her idea of being a good partner is pushing down her own needs and wants to make her partner comfortable. She falsely assumes that having boundaries and standards for how she is treated in a relationship makes her annoying or needy. Not only that, but she also demonstrates a bit of internalized misogyny as she judges other women for how they act in their relationships.dodie Releases Revamped 'Cool Girl', Plus Debut Album Available to Preorder Now - Pop Sins

The chorus of the song is what really gets me. It’s a simple hook, just the words “cool girl will be different, I’ll be quiet, oh so easy” repeated, but it holds so much weight to it. The idea that women should be non-confrontational and have no real identity outside of their relationship with their partner is illustrated here. Dodie is singing about the struggle of dealing with that societal ideal, about how frustratingly easy it is to submit to it and suppress who you are for someone else. She furthers this idea in the second verse with the line ‘how much of a tongue can I bite until we notice blood / I spit to the left, carry on, just smile and say you’re good”. She feels like she has to bite her tongue and pretend everything is okay to please other people.

The song doesn’t end with some grand conclusion where dodie realizes how dumb of a societal standard the “cool girl” persona is, and I actually really like that about it. It doesn’t end with dodie changing her ways or defying the standard, it ends in the quiet repetition of the devastatingly defeated chorus lines. In a way, this symbolizes that this feeling never goes away. Despite all the uplifting girl-power campaigns we see in magazines and online nowadays, the notion is still there and it lives in the back of every woman’s mind.

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dodie karaoke - Cool Girl

The Mystery Lights karaoke - Someone Else Is In Control (w/video background)

Imperfekt Karaoke 2026-09-14 | thelisteningpostblog.wordpress.com/2019/03/06/song-of-the-day-the-mystery-lights-someone-else-is-in-control

It fills me with great joy and excitement to share this new track from Brooklyn’s finest psych-fuelled rockets, The Mystery Lights! Announcing their new album earlier this month, Too Much Tension is to be the bands second offering and is to be released this May via Daptone’s rock subsidiary, Wick Records.

The record finds the group digging deeper into their well of eclectic influences, enriching their sound without echoing the past. As described by Wick Records the LP “mixes the eerie, insistent synth sounds of groups like The Normal and Suicide, the energy and swagger of punk’s golden age, the pop sensibility of The Kinks, and the stark, deliberate execution of Television. The Mystery Lights are taking their idiosyncratic brand of rock and roll to dizzying new heights”.

Sharing their first track from the upcoming album, Someone Else is in Control packs a lot into its short 1:52 minutes. Kicking off with the crisp roll of a snare, an edgy bass line quickly marches in and sets a tense pace throughout. The song tackles the uneasiness of a directionless mind that is wrestling with an inner darkness and the emptiness it brings. Observing how our own inner conflicts often obscure our way, feelings of being lost and powerless often prevail as the opening lines describe, “I’ve searched for so long looking for the sun/I’ve come face to face with the barrel of this gun/The child is a stranger/The child is my soul/Searching for something to fill in this hole. This void often leads to anxiety and depression, fuelled by debilitating fear, unable to move forward with clarity, plagued by the feeling that “someone else is in control” It’s a powerful song, makes you think and offers solace to those who can relate.

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The Mystery Lights karaoke - Someone Else Is In Control

Ben Caplan karaoke - Minimum Intervals (w/video background)

Imperfekt Karaoke 2026-09-14 | theeastmag.com/2018/06/26/new-music-ben-caplans-old-stock-is-an-old-world-musical-bender/#:~:text=Through%20its%20exploration%20of%20sexual,is%20both%20vital%20and%20universal.

New Music: Ben Caplan’s ‘Old Stock’ is an Old-World Musical Bender

Old Stock, Ben Caplan’s new album, is the equivalent of a one-man, off-Broadway musical bender; it’s equal parts political satire and reinvention of old-world musical storytelling.

The album is based on the play Old Stock: A Refugee Love Story, which was written collaboratively by Christian Barry and Hannah Moscovitch and traces the arc of a pastiche of folk narratives inspired by the musical traditions of the Jewish diaspora and the true story of two Romanian immigrants. It follows its protagonists as they find themselves in the various roles, including young lovers, unhappy spouses, castaways and mourners. Switching gears from soliloquy to song without look-back, Old Stock is a mini-musical odyssey, operating in an enviable mix of acerbity and raunch and dispensing cogent and biting observations of religious irony and critical social issues.

The vocals are crystal clear and the bass in Caplan’s pronunciations booms with a stirring force while the instrumentation, deft and explosive, shifts with lilting poise and zig-zaging attack. “Plough the Shit” rips with a crescendoing energy that practically spits itself out at the listener’s ears, and “Happy People” moves with the buoyant electricity of any traditional Klezmer number. “Lullaby,” on the other hand, channels a sweetness and sadness reminiscent of the earlier slow numbers of Tom Waits.

The lyrical regard is at certain times coy and nearly impish while at others startlingly immediate and affecting, proceeding through wordplay, jest and true seriousness with articulate drive and uncanny swagger. In Caplan’s inimitable ability to blend severity and humour (“you fell out of your mother on the right side of the border”), “The Traveler’s Curse” examines the hardships faced by immigrants while speaking of the effects of anomie and displacement. Inevitably, it draws parallels to the current refugee crisis facing the world and the border tensions of Trump’s America.

In this sense, Old Stock uses the lens of the history of Jewish displacement as both a point of study and departure for current issues of xenophobia, sexual politics and colonial legacy. In so much, it is not only historicizing one ethno-religious group, or one story of persecution, but in fact providing a thematic duality that undergirds and illuminates a broader understanding of many of the cultural and political issues that affect the globe over. Through its exploration of sexual norms, taboos and consent on “Minimum Intervals” or its evocation of colonial bias on “Widow Bride,” Old Stock offers a case study that is specific with a subject matter that is both vital and universal.

What is extraordinary about this effort is Caplan’s ability to be at once incisive and sweet, brutal and clairvoyant, swinging from moments of tenderness and volubility to fiery bursts of dark humour, all while combining the forces of schtick, irony and narrative to propel the listener through a study of love, loss and struggle. Caplan manages to follow the raconteur’s template nearly to a tee while still feeling wholly original. This is, after all, what great storytellers do, and if nothing else, on Old Stock, he has proven to be just that.

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Ben Caplan karaoke - Minimum Intervals

Mission Of Burma karaoke - This Is Not A Photograph (w/video background)

Imperfekt Karaoke 2026-09-12 | rottentomatoes.com/m/not-a-photograph-the-mission-of-burma-story#:~:text=A%20solid%20documentary%20about%20the,lionized%20in%20alternative%2Fpunk%20circles%20today.

A solid documentary about the seminal Boston band who was originally together for just a few years but is widely lionized in alternative/punk circles today. Minus one member, the group reunited in the early '00s and is now enjoying a successful second life.

The film makes all the required rock-doc moves, but isn't particularly good at illustrating what made Mission of Burma so special beyond noting its unusual use of tape loops. Admittedly, it's not easy to pin down the group's elusive magic -- something about a mix of punk aggression, strong melody and irregular rhythms, perhaps.

Best examples include "This Is Not a Photograph," "That's When I Reach for My Revolver" and "Academy Fight Song." Personally, I often find myself thinking of angry Indians whooping around a fire while tribal drums thump away. If you're a new Mission of Burma fan, make sure you also check out Volcano Suns, the late-'80s band of Burma drummer Peter Prescott.

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Mission Of Burma karaoke - This Is Not A Photograph

Riot karaoke - Bloodstreets (w/video background)

Imperfekt Karaoke 2026-09-12 | en.wikipedia.org/wiki/Thundersteel#:~:text=Thundersteel%20is%20the%20sixth%20studio,of%20inactivity%20in%20the%20mid%2D1980s.

Thundersteel is the sixth studio album by the American heavy metal band Riot, released after coming back from a period of inactivity in the mid-1980s. It features a totally different line-up from that of the previous work, with guitarist Mark Reale being the only remaining member.

It was re-issued in 2003 by Collectables Records with slightly amended artwork and re-issued on 180g vinyl as a 2-LP set with The Privilege of Power by SPV on February 25, 2013.[5] The album originally charted at No. 150 on Billboard 200[6]

The song "Thundersteel" was originally written by Mark Reale and Don Van Stavern for 'Narita', a short-lived project Reale formed with members of S.A. Slayer following the demise of Riot in 1984. A demo released by Narita exists, with "Thundersteel" and two other tracks: "Liar" and "The Feeling Is Gone". The record's title song appears as a bonus track on 2013 album "Possession" by the Polish heavy metal band Crystal Viper.

The song "Flight of the Warrior" was covered by the Swedish heavy metal band HammerFall on their 2008 album Masterpieces. A cover of "Flight of the Warrior" also appears as a bonus track on the 2013 album Beneath the Surface by German metal band Alpha Tiger who've performed the song live as well.

Album information
The album's sound has been described as power metal;[7] with AllMusic writer Brian O'Neill going into great detail describing what all went into its sound, saying, "The disc takes cues from everything that was metal at the time, combining classic European styles reminiscent of Judas Priest's heavier moments (a premonition for Painkiller), thrashing guitars and pounding percussion indicative of the then-burgeoning underground thrash movement (it's got more riffs than Anthrax ever had), and undertones of the hair metal that was riding the charts at the time (especially in appearance) into a cohesive moment of refined ferocity."[1]

Legacy
In 2008, the album's personnel reunited for 2009's Sweden Rock Festival.[8] The album was reissued in Japan on October 7, 2009.[9] A 30th anniversary version of the album was released in 2018.[10]

Track listing
No. Title Writer(s) Length
1. "Thundersteel" Reale, Van Stavern 3:49
2. "Fight or Fall" Van Stavern 4:25
3. "Sign of the Crimson Storm" Reale 4:40
4. "Flight of the Warrior" Moore, Reale, Van Stavern 4:17
5. "On Wings of Eagles" Moore, Reale, Van Stavern 5:41
6. "Johnny's Back" Moore, Reale, Van Stavern 5:32
7. "Bloodstreets" Moore, Reale

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Riot karaoke - Bloodstreets

Tigers Jaw karaoke - Chemicals (w/video background)

Imperfekt Karaoke 2026-09-12 | songmeanings.com/songs/view/3530822107858751816

by RhondaJeanKelly
16y ago
I'm surprised no one has commented on this yet!! By far my favorite Tigers Jaw song. "We spent our summers writing songs of how we'd never make it on our own, but here we are." Ahhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhh

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by wtfok
10y ago
I absolutely adore this song with all my heart because it reminds me of someone very important to me. The lines "you are everything and I am nothing" really just hits me as the singer is admitting that the other person is so much better than them as they are "nothing", because that's how I feel about this very important person.

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Tigers Jaw karaoke - Chemicals

Drive-By Truckers karaoke - Greenville To Baton Rouge (w/video background)

Imperfekt Karaoke 2026-09-12 | songfacts.com/facts/drive-by-truckers/greenville-to-baton-rouge

This song depicts the flight from Greenville, South Carolina to Baton Rouge, Louisiana; the plane was carrying the band Lynyrd Skynyrd and crashed that night. Lead singer Ronnie Van Zant fell asleep during this flight and was sleeping on the floor when the emergency began. He was quickly awoken and put into a seat and strapped in.

The airplane was supposed to be repaired when the crew got to Baton Rouge, where a mechanic from Texas was meeting them. Both engines were failing during flight and the loss of gasoline was too much for the plane to make it to Baton Rouge.

Once the crew realized they couldn't make it to Baton Rouge, they turned the plane around to reach the nearest airport. Shortly after the plane turned around, it ran out of gas, the engines turned off, and the controls were no longer operable for controlling the decent of the plane.

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Drive-By Truckers karaoke - Greenville To Baton Rouge

Lucinda Williams karaoke - Greenville (w/video background)

Imperfekt Karaoke 2026-09-12 | carlosands.com/2017/09/go-on-back-to-greenville-lucinda.html

'Go on back to Greenville': Lucinda Williams and the art of a 'fuck you' song

Songs telling people who deserved to be told to get fucked to "get fucked" has a long and proud tradition in popular music, from Dylan's "Positively Fourth Street" (dripping in venom, with its sneered opening line "You gotta lot of nerve to say you are my friend", before really laying into the unnamed backbiter), Carly Simon's "You're So Vain", as devastating a sustained put down as it is an insanely catchy song, to English pop singer Lily Allen's entire 2006 debut album Alright, Still.

One with more than a few songs on arseholes is US bluesy country singer Lucinda Williams, and like with Simon and Allen's savaging of fuckboys who had it coming, she clearly speaks from experience of having known her share.

One of her finest examples is "Greenville", off her 1998 classic Car Wheels on a Gravel Road, which contains more great songs than any album has a natural right to include.

The song lacks the bombast of many other examples of the genre. It feels understated — but the impression is superficial. It is quiet, stripped back and builds slowly, but in its poetic simplicity, it finds its mark just as surely. Each verse further strips away the layers of the man in question's pretensions, revealing an intolerable arrogance that spreads pain in its wake.

By the end, without any sneering just a strong sense of how sadly pathetic he is, Williams offers up the observation "Looking for someone to save you. Looking for someone to rave about you. To rave about you oh to rave about you..."

The man, and there is no doubt it is a man any more than it is a real man Williams had the misfortune to become entangled with, is told repeatedly to go back to Greenville. This is the name of towns in several US states, and it could be any of them, but it is one of them.

Bellow is the album version, with Emmy Lou Harris providing backing vocals, followed by Williams singing the song on the BBC TV music show Later... With Jools back in 1999.

Don't want to see you again or hold your hand
Cause you don't really love me you're not my man
You're not my man oh you're not my man
Go back to Greenville just go on back to Greenville

You scream and shout and you make a scene
When you open your mouth you never say what you mean
Say what you mean oh say what you mean
Go back to Greenville just go on back to Greenville
You drink hard liquor you come on strong

You lose your temper someone looks at you wrong
Looks at you wrong oh looks at you wrong
Go back to Greenville just go on back to Greenville
Out all night playin in a band

Looking for a fight with a guitar in your hand
A guitar in your hand oh a guitar in your hand
Go back to Greenville just go on back to Greenville
Empty bottles and broken glass

Busted down doors and borrowed cash
Borrowed cash oh the borrowed cash
Go back to Greenville just go on back to Greenville
Looking for someone to save you
Looking for someone to rave about you
To rave about you oh to rave about you
Go back to Greenville just go on back to Greenville

Now, I know what you are thinking. After everything in this post so far and with no obvious segue, can I still force in a plug for my solo show at the Sydney Fringe Comedy festival, "Inspired?" on at the Factory in Marrickville on September 27 & 29 and October 1?

The answer is no. Obviously I cannot actually elbow in a reference to my show, which attempts to grapple with how to stay inspired in a world so horrific while also telling amusing jokes and is a fundraiser for Green Left Weekly and at which you can book tickets here.

It would ridiculous! Worse, to even try might be seen as an example of the sort of arrogant men that Lucinda and others slay in their songs!

Sorry, but I just won't do it. However, if you are desperate for details, I guess you could click on the ad on the right hand side of this blog. If you want to.

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My actual karaoke shows are in Portland, Oregon here: http://www.karaokeaddiction.com

Lucinda Williams karaoke - Greenville

Car Seat Headrest karaoke - Deadlines (Hostile) (w/video background)

Imperfekt Karaoke 2026-09-10 | genius.com/Car-seat-headrest-deadlines-hostile-lyrics#:~:text=It's%20about%20forbidden%20attraction%2C%20wanting,not%20supposed%20to%20be%20with.

What did Car Seat Headrest say about "Deadlines (Hostile)"?

Genius Answer
2 contributors
Both versions of ‘Deadlines’ that are on the streaming version are still fresh enough that I’m still excited about them. It was a weird thing where I was in a good place mentally and excited about this final run for the album, creating this new material and putting something fresh on at the end of it. But it’s also tapping into this darker energy, this almost sort of Edgar Allan Poe morbidity. It’s about forbidden attraction, wanting to go somewhere that you’re not supposed to go or be with someone that you’re not supposed to be with. That pull, that temptation, but tempering it with being repulsed, feeling anxious or unsure. Structurally, it doesn’t repeat a lot of parts. It’s kind of always moving forward, and so it’s also got this inexorable pull towards some sort of resolution or conclusion. But maybe, it ultimately never really does resolve.

via Apple Music

+12

Who produced “Deadlines (Hostile)” by Car Seat Headrest?

Genius Metadata
“Deadlines (Hostile)” by Car Seat Headrest was produced by Will Toledo & Andrew Katz.
When did Car Seat Headrest release “Deadlines (Hostile)”?

Genius Metadata
Car Seat Headrest released “Deadlines (Hostile)” on May 1, 2020.
Who wrote “Deadlines (Hostile)” by Car Seat Headrest?

Genius Metadata
“Deadlines (Hostile)” by Car Seat Headrest was written by Will Toledo.

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Car Seat Headrest karaoke - Deadlines (Hostile)

Car Seat Headrest karaoke - Deadlines (vinyl) (w/video background)

Imperfekt Karaoke 2026-09-10 | Car Seat Headrest’s vinyl edition of Making a Door Less Open features a different version of the track "Deadlines" (labeled simply as "Deadlines" or the December 2019 master) compared to the digital and streaming release, which includes "Deadlines (Hostile)" and "Deadlines (Thoughtful).

"Most users on Reddit agree that the vinyl pressing was manufactured using an earlier master from December 2019 due to production deadlines, while Will Toledo and the band continued tweaking mixes and adding new versions (like "Hostile" and "Thoughtful") for the digital release closer to the May 1, 2020 launch.

You can buy physical copies or check editions directly on the Matador Records Store.

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My actual karaoke shows are in Portland, Oregon here: http://www.karaokeaddiction.com

Car Seat Headrest karaoke - Deadlines (vinyl)

Yellowcard - One Year, Six Months (w/video background)

Imperfekt Karaoke 2026-09-10 | "One Year, Six Months" by the rock band Yellowcard is an acoustic song about the lingering pain of a past relationship and the exact amount of time that has passed since a painful breakup.

Meaning and Lyrics
The Timeline: The phrase "one year six months ago" marks the precise duration since a significant moment—likely the end of a relationship or a deep heartbreak the singer is trying not to forget.

Nostalgia and Regret: The lyrics deal with "threads of reason and regret," capturing how memories of an ex-partner rush back while being away on tour ("being on this road is anything but sure").

The Acoustic Vibe: Written late in the recording sessions for the 2003 album Ocean Avenue, the stripped-down track provides an intimate, vulnerable emotional weight contrasting with the faster pop-punk songs on the record

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My actual karaoke shows are in Portland, Oregon here: http://www.karaokeaddiction.com

With Confidence karaoke - What You Make It (w/video background)

Imperfekt Karaoke 2026-09-10 | originalrock.net/2021/08/25/with-confidence-release-new-single-what-you-make-it/#:~:text=Singer%20Jayden%20Seeley%20notes%20of,but%20being%20A%2Dokay%20with%20it.

With Confidence release new single ‘What You Make It’
Posted on August 25, 2021 by Original Rock

Pop rock quartet With Confidence have today released a brand new song and video for ‘What You Make It’, which fans can stream and watch now at this link: https://smarturl.it/WhatYouMakeIt

The song is the fifth and final single from With Confidence’s forthcoming self-titled record, out on August 27th, 2021. Fans can still pre-order the album here: https://smarturl.it/WithConAlbum

Singer Jayden Seeley notes of the release, ‘What You Make It’ is about turning lemons to lemonade. It’s about going a little crazy but being A-okay with it. It’s about everyone looking to you for answers but you just too damn busy vibin’. Idk man, life’s just what you make it.”

Across their career, Australia’s With Confidence have become world renowned for their catchy riffs and insanely energetic live show. Their debut with Hopeless Records ‘Better Weather’ and its follow up ‘Love and Loathing’ are available to stream on all platforms now.

‘What You Make It’ joins previously released singles ‘Anything’, ‘Cult’, ‘Paper’ and ‘Big Cat Judgement Day’ from the forthcoming S/T album.

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PayPal: @karaokepdx
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My actual karaoke shows are in Portland, Oregon here: http://www.karaokeaddiction.com

Yellowcard - One Year, Six Months

Imperfekt Karaoke 2026-09-09 | "One Year, Six Months" by the rock band Yellowcard is an acoustic song about the lingering pain of a past relationship and the exact amount of time that has passed since a painful breakup.

Meaning and Lyrics
The Timeline: The phrase "one year six months ago" marks the precise duration since a significant moment—likely the end of a relationship or a deep heartbreak the singer is trying not to forget.

Nostalgia and Regret: The lyrics deal with "threads of reason and regret," capturing how memories of an ex-partner rush back while being away on tour ("being on this road is anything but sure").

The Acoustic Vibe: Written late in the recording sessions for the 2003 album Ocean Avenue, the stripped-down track provides an intimate, vulnerable emotional weight contrasting with the faster pop-punk songs on the record

Subscribe to my back up channel in case something happens to this one: youtube.com/@yourimperfektkaraokeaddiction

If you're feeling generous or appreciative, you can send virtual tips here:

PayPal: @karaokepdx
Venmo: @karaokepdx
Cash App: $KaraokeAddictionPDX

Imperfekt Karaoke Patreon (for PRIORITY and HIGH PRIORITY SONG CREATION): patreon.com/c/ImperfektKaraoke

My actual karaoke shows are in Portland, Oregon here: http://www.karaokeaddiction.com

With Confidence karaoke - What You Make It

Imperfekt Karaoke 2026-09-09 | originalrock.net/2021/08/25/with-confidence-release-new-single-what-you-make-it/#:~:text=Singer%20Jayden%20Seeley%20notes%20of,but%20being%20A%2Dokay%20with%20it.

With Confidence release new single ‘What You Make It’
Posted on August 25, 2021 by Original Rock

Pop rock quartet With Confidence have today released a brand new song and video for ‘What You Make It’, which fans can stream and watch now at this link: https://smarturl.it/WhatYouMakeIt

The song is the fifth and final single from With Confidence’s forthcoming self-titled record, out on August 27th, 2021. Fans can still pre-order the album here: https://smarturl.it/WithConAlbum

Singer Jayden Seeley notes of the release, ‘What You Make It’ is about turning lemons to lemonade. It’s about going a little crazy but being A-okay with it. It’s about everyone looking to you for answers but you just too damn busy vibin’. Idk man, life’s just what you make it.”

Across their career, Australia’s With Confidence have become world renowned for their catchy riffs and insanely energetic live show. Their debut with Hopeless Records ‘Better Weather’ and its follow up ‘Love and Loathing’ are available to stream on all platforms now.

‘What You Make It’ joins previously released singles ‘Anything’, ‘Cult’, ‘Paper’ and ‘Big Cat Judgement Day’ from the forthcoming S/T album.

Subscribe to my back up channel in case something happens to this one: youtube.com/@yourimperfektkaraokeaddiction

If you're feeling generous or appreciative, you can send virtual tips here:

PayPal: @karaokepdx
Venmo: @karaokepdx
Cash App: $KaraokeAddictionPDX

Imperfekt Karaoke Patreon (for PRIORITY and HIGH PRIORITY SONG CREATION): patreon.com/c/ImperfektKaraoke

My actual karaoke shows are in Portland, Oregon here: http://www.karaokeaddiction.com

Warren Zevon karaoke - The Factory (w/video background)

Imperfekt Karaoke 2026-09-09 | reddit.com/r/Zevon/comments/1it9zgt/daily_song_discussion_56_the_factory/#:~:text=In%20case%20it%20isn't%20clear%2C,10%20hours%20west%20of%20Mechanicsburg.

Daily Song Discussion #56: The Factory
This is the third track from Zevon's sixth album, Sentimental Hygiene. How do you feel about this song? What are your favorite lyrics? How would this rank among the rest of Zevon's discography? How would you rate it out of 10 (decimals allowed)?

Studio version

Suggested scale:
1-4: Not good. Regularly skip.
5: It's okay, but I have to be in the right mood to listen to it.
6: Slightly better than average. I won't skip it, but I wouldn't choose to put it on.
7: This is a really good song. I enjoy it quite a bit.
8-9: Really enjoyable songs. I rank them pretty high overall.
10: Masterpiece, magnum opus or similar terminology.

Results:

Sentimental Hygiene: 8.30

Boom Boom Mancini: 9.40

The Factory: ...

OP
•
2y ago
I never think of this as one of my favorites, which means every time it comes on, I'm surprised at how great it is. The tune is oddly elegaic, given how hard it drives. Dylan's harmonica part is really melodic. Love the appearance of polyvinyl chloride in the lyrics -- it's a quintessential "no one but Warren" moment.

In case it isn't clear, this song isn't about Warren. He was born in '47 not '63, and was born in Chicago, about 10 hours west of Mechanicsburg. His father worked for Mickey Cohen, not Pontiac. And his kids were 11 and 18 at this point.

Giving this one a 9.

2y ago
10/10!!! Featuring Bob Dylan on Harmonica! Yes sir no sir work! An amazing song! Very great instrumentation and lyrics!

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u/tristanator01 avatar
tristanator01
•
2y ago
10/10. One of my favourite songs of his. Such a tight track with great lyrics and an awesome sound. “Making polyvinyl chloride in the FACTORY” is one of my all time favourite lyrics of his. Classic Warren.

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u/BoomBoomSpaceRocket avatar
BoomBoomSpaceRocket
•
2y ago
9.5/10, one of his catchiest songs.

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u/beepbapboop24332 avatar
beepbapboop24332
•
2y ago
9.5/10. One of the first songs I really liked off Sentimental Hygiene, infectiously off-kilter and catchy

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4

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capitansteubing
•
2y ago
6.5 for me

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3

u/two2blue2 avatar
two2blue2
•
2y ago
10 all the way. Probably the first Zevon song I knew (thanks dad). "Yes sir, no sir, yes sir, no sir WORK!" Didn't learn till later it was Dylan on harmonica, but always liked that bit too.

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prestonius994
•
2y ago
I’d give it a 7.5. I enjoy it but every time I hear it, it just feels like a Springsteen song with a Zevon twist if that makes sense.

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Reasonable-Wealth647
•
2y ago
10. Absolute classic Warren!

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2

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chesterfieldkingz
•
2y ago
7

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2

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u/NutmegOnEverything avatar
NutmegOnEverything
•
2y ago
8

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2

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u/ElipsonLemon avatar
ElipsonLemon
•
2y ago
7.5/10. One of the first songs of his that caught my attention. It’s catchy guitar, harmonica, and ironic upbeat feel make it an easy song for introducing new fans to the Zevon catalogue. Breathin’ that plastic in the factory!

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roberb7
•
2y ago
6.

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u/FredMeyerStores
•
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[deleted]
•
2y ago
A solid 10 - helps get me through many a workday (punching out Chryslers in the factory)

u/Wattos_Box avatar
Wattos_Box
•
2y ago
"Everybody wants to play lead guitar"

Great song

u/GarboneK avatar
GarboneK
•
2y ago
7. Fun and catchy, but not a major standout.

InsideSea7772
•
2y ago
10

HooDooBoogaloo
•
2y ago
10. One of my favorite opening stanzas of all time

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Internal_Dragonfly43
•
2y ago
10/10 one of my favorite Zevon songs… the Bob Dylan harmonica, and the sardonic riff on Bruce Springsteen makes this a perfect track. “I’d kill my wife/ or she’d kill me/ but we gotta go to work at the factory” is such a great line. And the “yes sir no sir work!” chorus, man. What a song

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PayPal: @karaokepdx
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Cash App: $KaraokeAddictionPDX

Imperfekt Karaoke Patreon (for PRIORITY and HIGH PRIORITY SONG CREATION): patreon.com/c/ImperfektKaraoke

My actual karaoke shows are in Portland, Oregon here: http://www.karaokeaddiction.com

Warren Zevon karaoke - The Factory

Elvis Costello karaoke - Love For Sale (w/video background)

Imperfekt Karaoke 2026-09-09 | Elvis Costello recorded a dramatic acoustic rendition of Cole Porter's classic standard "Love for Sale" around 1980–1981 during demo sessions following the commercial shifts of Get Happy!! and Trust.

The Sessions: Feeling uncertain about his career direction after Armed Forces, Costello briefly wanted to explore singing outside material and recorded acoustic demos of various covers, including "Gloomy Sunday" and Cole Porter's "Love for Sale".

The Style: Costello's version leans into a stark, dramatic vocal delivery, highlighting the gritty reality of the lyrics about a lone figure on a city street. While not part of a standard primary studio album release at the time, the recording has circulated widely among fans and via archival releases/bootlegs.

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If you're feeling generous or appreciative, you can send virtual tips here:

PayPal: @karaokepdx
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Cash App: $KaraokeAddictionPDX

Imperfekt Karaoke Patreon (for PRIORITY and HIGH PRIORITY SONG CREATION): patreon.com/c/ImperfektKaraoke

My actual karaoke shows are in Portland, Oregon here: http://www.karaokeaddiction.com

Elvis Costello karaoke - Love For Sale

The Cardigans karaoke - The Boys Are Back In Town (w/video background)

Imperfekt Karaoke 2026-09-09 | covermesongs.com/2014/01/five-good-covers-the-boys-are-back-in-town-thin-lizzy.html

Five Good Covers: The Boys Are Back In Town (Thin Lizzy)
Posted by Patrick Robbins at 5:00 pmAdd comments
Jan 172014

Five Good Covers presents five cross-genre reinterpretations of an oft-covered song.

It was twenty-eight years ago this month that Phil Lynott, bassist/vocalist for Thin Lizzy, passed away far too young. At least he left behind a legacy – a quality back catalog, a memorable description from Henry Rollins as “my guardo camino… the man that gets me through the high times, the low times and all the times in between,” and a song that rivals “Jersey Girl” as the best Bruce Springsteen song that Springsteen never wrote – “The Boys Are Back In Town,” from 1976’s Jailbreak.

This is a song that featured twin lead guitars and Lynott’s tough poetry, expressing the bros-before-hoes mentality a good thirty years before that expression came to be, yet in a way that was clean enough that Disney could feature it in Toy Story trailers without anyone taking offense. It was the kind of song that meant a lot to both fans and peers, as well as those fans who would have been peers as they grew up and became artists themselves. Here are five of those fans…

The Cardigans – The Boys Are Back In Town (Thin Lizzy cover)

The Cardigans give “The Boys Are Back In Town” the samba treatment, and if you think a Swedish band giving an Irish band a Brazilian sound is a little out of this world, you’re not necessarily wrong. But then, whatever world they’re on has some beautiful music in it, and even if you could never have pictured this child coming from these parents, the Cardigans deserve congratulations for bringing this bundle of joy into being.

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The Cardigans karaoke - The Boys Are Back In Town

The Cars karaoke - Breakaway (w/video background)

Imperfekt Karaoke 2026-09-09 | https://albumreviews.blog/great-b-sides-breakaway-by-the-cars/#:~:text=Musically%2C%20'Breakaway'%20captures%20the%20adult,too%20good%20for%20a%20b%2D

It’s the year of Our Lord 2019, and we’re rapidly approaching peak-rock-star-death era. The Cars’ mastermind Ric Ocasek passed away earlier this week. I was surprised to learn that he was 75, older than many of the stars that he replaced as part of the new wave.

The Cars’ speciality was their sleek, synthetic sound, which presaged the 1980s. They took notes from Roxy Music, with the heavy use of synths and Ocasek’s detached demeanour. Their 1978 debut funnelled Roxy’s innovations into succinct, hooky pop songs.

The Cars was packed with great songs, and almost every track sounded like a potential single. The band followed it up with the successful Candy-O in 1979, but their other most iconic album didn’t come until 1984. Heartbeat City featured the mega-hit ‘Drive’, fronted by the smooth voice of bassist Ben Orr, as well the power pop of ‘Magic’ and ‘You Might Think’.

Among all the hits, the non-album track ‘Breakaway’ was buried as the b-side to the album’s fifth single ‘Why Can’t I Have You’. It’s clearly a top-drawer Cars song, but it’s presumably buried as a b-side because of the blatant drug references; Ocasek sings about chasing the dragon and Persian dreams, clear references to heroin.

Musically, ‘Breakaway’ captures the adult sophistication of the 1984 Cars – it’s not quite as majestic as ‘Drive’, but it’s too good for a b-side with Ocasek’s brooding vocal, a great keyboard riff leading into the chorus from Greg Hawkes, and an unusually long solo from guitarist Elliot Easton.

‘Breakaway’ wasn’t completely lost to obscurity – it was deservedly included on 1995’s Just What I Needed: The Cars Anthology.

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The Cars karaoke - Breakaway

John Prine karaoke - Donald And Lydia (w/video background)

Imperfekt Karaoke 2026-09-02 | americansongwriter.com/behind-the-meaning-of-donald-and-lydia-by-john-prine/#:~:text=He%20kicked%20off%20the%20song,about%20the%20idea%20of%20it.

John Prine‘s lyrics are beloved the world over. Prior to his death in 2020, Prine created some of the most cherished stories in Americana music. Though it’s hard to pick a favorite Prine song, we’re partial to the off-kilter love story of “Donald and Lydia.” Uncover the meaning behind this ballad, below.

[RELATED: Behind the Meaning of John Prine’s “I Remember Everything”]

Videos by American Songwriter

Behind the Meaning of “Donald and Lydia” by John Prine
Small town, bright lights, Saturday night
Pinballs and pool halls flashing their lights
Making change behind the counter in a penny arcade
Sat the fat girl daughter of Virginia and Ray

Many of Prine’s songs are character pieces. In “Donald and Lydia” he created some of his most poignant characters. Prine had a way about taking seemingly inconsequential stories and making them powerful paradigms for life.

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“In most of the ballad stuff I do I try to use a chorus like a needle and thread, to pull the song together,” Prine once said. “A lot of times I’ve written just with the idea of experimenting. ‘Donald and Lydia’ – I had no idea what I was going to write about, but I knew how I was going to set the song up. I was going to set it up character by character.”

He kicked off the song by introducing Lydia, a quiet girl who spends her Saturdays alone. In the second verse, he pulls in Donald, a young soldier. Both of them struggle with love and are resigned to dreaming about the idea of it.

Hot love, cold love, no love at all
A portrait of guilt is hung on the wall
Nothing is wrong, nothing is right
Donald and Lydia made love that night

It isn’t until the bridge that Prine revealed the kicker: When they was finished, there was nothing to say / ‘Cause mostly they made love from ten miles away. Despite aligning these two characters (giving the listener the impression that they are fated to fall in love) Prine let this story be a somber one. In the end, they are still stuck dreaming about love instead of experiencing it.

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John Prine karaoke - Donald And Lydia

Pearl Jam karaoke - Porch (w/video background)

Imperfekt Karaoke 2026-09-02 | songfacts.com/facts/pearl-jam/porch

One of the earliest Pearl Jam songs, lead singer Eddie Vedder wrote "Porch" on his way up from San Diego to meet the rest of the band for the first time. Beloved by the Pearl Jam faithful, it's one of their most popular live songs.

This is one of those Pearl Jam songs that is very much open to interpretation, as Eddie Vedder intended. It appears to be about a relationship of some kind that is at a breaking point:

There ain't gonna be any middle any more
And the cross I'm bearing home
Ain't indicative of my place

This song became associated with Eddie Vedder's stance on abortion, as he wrote "Pro Choice" in his arm when Pearl Jam performed it on their MTV Unplugged concert in 1992. That same year, Vedder made a similar statement when the band performed it on Saturday Night Live. During that performance, he wore a T-shirt with a wire hanger on it and added these lyrics:

A woman has every right to choose...
Choose for herself

It's not clear if the song itself deals with abortion.
Founding Pearl Jam member Jeff Ament recalled the recording of Ten to Uncut magazine March 2009: "We went to Michael Goldstone at Sony and said, We don't want to spend a lot of money making this record, we want to get out and play, do it the way were comfortable, doing it with somebody local."

"There were two sessions at London Bridge in Seattle, probably of a day or two each, and after that we went in to record the record proper, because we had four or five new songs," he continued. "'Deep,' 'Jeremy' and 'Porch' were probably the last three."

"I think we went in March or April [1991]. Ed had moved up here in November. It happened pretty quick. I remember there being a lot of snow on the ground, which is pretty rare for Seattle. We were stuck in the city, stuck in our basement."

This song has a long and pretty spectacular instrumental break, which Vedder would often use to explore his space. In those clips where you see him climbing the set (famously at Lollapalooza in 1992), jumping into the crowd, or hanging from something, it was often during this song.

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Pearl Jam karaoke - Porch

Armor For Sleep karaoke - Always A Wish (w/video background)

Imperfekt Karaoke 2026-09-02 | en.wikipedia.org/wiki/What_to_Do_When_You_Are_Dead

What to Do When You Are Dead is the second studio album by American rock band Armor for Sleep. Following the completion of two songs written from the perspective of being dead, vocalist/guitarist Ben Jorgensen created a whole story from this viewpoint. What to Do When You Are Dead is a concept album, with each song telling the story of the aftermath of the protagonist's suicide and his journey through the afterlife. Recording took place between August and October 2004 with producer Machine. A rough mix of "Car Underwater" was made available in November, followed by two US tours in February 2005. What to Do When You Are Dead was released on February 22 through independent label Equal Vision Records.

Track listing
All lyrics are written by Ben Jorgensen; all music is composed by Jorgensen & Armor for Sleep.

No. Title Length
0. "One Last Regret" (pregap hidden track) 1:17
1. "Car Underwater" 3:48
2. "The Truth About Heaven" 3:30
3. "Remember to Feel Real" 3:21
4. "Awkward Last Words" 3:46
5. "Stay on the Ground" 4:30
6. "A Quick Little Flight" 2:12
7. "The More You Talk the Less I Hear" 4:04
8. "Basement Ghost Singing" 4:36
9. "Walking at Night, Alone" 4:14
10. "I Have Been Right All Along" 3:46
11. "The End of a Fraud" 5:11
Total length: 44:15[3]
iTunes bonus track
No. Title Length
12. "Very Invisible" 4:22

15th anniversary vinyl reissue bonus disc[57]
No. Title Length
1. "Who's Gonna Lie to You" (What to Do When You Are Dead b-side demo) 4:14
2. "Always a Wish" (What to Do When You Are Dead b-side demo) 3:38

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Armor For Sleep karaoke - Always A Wish

U2 karaoke - Mothers Of The Disappeared (w/video background)

Imperfekt Karaoke 2026-09-02 | en.wikipedia.org/wiki/Mothers_of_the_Disappeared

"Mothers of the Disappeared" is a song by Irish rock band U2. It is the eleventh and final track on their 1987 album The Joshua Tree. The song was inspired by lead singer Bono's experiences in Nicaragua and El Salvador in July 1986, following U2's participation in the Conspiracy of Hope tour of benefit concerts for Amnesty International. He learned of the Madres de Plaza de Mayo, a group of women whose children had "forcibly disappeared" at the hands of the Argentine dictatorship,[1] a situation that also happened during the Chilean dictatorship.[1] While in Central America, he met members of COMADRES, a similar organization whose children had been abducted by the government in El Salvador.[2] Bono sympathized with the Madres and COMADRES and wanted to pay tribute to their cause.

The song was written on a Spanish guitar, and the melody lifted from a piece Bono composed in Ethiopia in 1985 to help teach children basic forms of hygiene. The lyrics contain an implicit criticism of the Reagan Administration, which backed two South American regimes that seized power during coups d'état and which provided financial support for the military regime in El Salvador.[3] Thematically it has been interpreted as an examination of failures and contradictions in U.S. foreign policy.[4][5] The drum beat provided by Larry Mullen Jr. was processed through an effects unit that gave it a drone-like quality, which bassist Adam Clayton described as "evocative of that sinister death squad darkness".

"Mothers of the Disappeared" was favourably received by critics, who variously described it as "powerful",[6] "a moving tribute",[7] and containing "stunning beauty and sadness".[8] The song was played seven times on the 1987 Joshua Tree Tour, and some recordings were considered for the ending sequence of the 1988 film Rattle and Hum. It was revived for four concerts on the 1998 PopMart Tour in South America, and for two of them, the Madres joined the band onstage for the performance, one of which was broadcast on television in Chile. Bono used the opportunity to ask former Chilean dictator General Augusto Pinochet to reveal to the Madres the locations of their children's bodies. The song was played a further three times on the U2 360° Tour; one performance was dedicated to Fehmi Tosun, an ethnic Kurd who forcibly disappeared in Turkey in 1995. Bono re-recorded the song a cappella in 1998 for the album ¡Ni Un Paso Atrás! (English: Not One Step Back!).

Inspiration, writing, and recording
Recording sessions for The Joshua Tree began in January 1986 in Danesmoate House in Dublin and continued throughout the year.[9] U2 briefly interrupted these sessions in June to join Amnesty International's A Conspiracy of Hope tour of benefit concerts. Following the first concert in San Francisco, lead singer Bono met René Castro, a Chilean mural artist. Castro had been tortured and held in a concentration camp for two years by the dictatorial Chilean government because his artwork criticised the Pinochet-led regime that seized power in 1973 during a coup d'état.[10] Castro showed Bono a wall painting in the Mission District that depicted the ongoing plight in Chile and Argentina.[11] He also learned of the Madres de Plaza de Mayo, a group of women whose children were forcibly disappeared by the Argentine government.[1] The Madres' children were usually young people who had opposed the government during the Dirty War, and the coup d'état that brought Jorge Rafael Videla to power.[12] The Madres joined together to campaign for information regarding the locations of their children's bodies and the circumstances of their deaths, believing them to have been kidnapped, tortured, and murdered.[13][14]

Inspired by the mural, Bono took an extended break from recording into July, traveling to Nicaragua and El Salvador with his wife, Alison Hewson, to see first-hand the distress of peasants bullied by political conflicts and U.S. military intervention. While there, they worked with the Central American Mission Partners (CAMP), a human rights and economic development organization.[At one point during the trip, Bono, Alison, and a member of CAMP were shot at by government troops while on their way to deliver aid to a group of farmers. The shots were a warning and, according to author John Luerssen, the incident made Bono realize that "they didn't care for their intrusion and they could kill them if they felt compelled."[2]

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My actual karaoke shows are in Portland, Oregon here: http://www.karaokeaddiction.com

U2 karaoke - Mothers Of The Disappeared

Poets Of The Fall karaoke - Chasing Echoes (w/video background)

Imperfekt Karaoke 2026-09-02 | reddit.com/r/poetsofthefall/comments/uetk3g/so_chasing_echoes/#:~:text=Lust%20for%20Life%20is%20a,place%20right%20now.%20I%20don't

So Chasing Echoes...
Discussion
Best track on the new album am I right? No? Well what's your favourite on first listen, I'd love to hear your first impressions.

Ghostlight definitely exceeded my expectations that's for sure, though with Poets discography so far, I don't think it's possible for these guys to make a bad song.

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u/NousevaAngel avatar
NousevaAngel
•
4y ago
Revelations and Chasing Echoes for me

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Anxious_Spare_4380
•
4y ago
Hello cabaret and beyond the horizon during first listen sent chills down my spine. After two listens, the entire album has been stuck in my head. Probably one of their best works.

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open-aperture96
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4y ago
Beyond the Horizon stole my breath away when I first heard it, but I am also partial to Chasing Echoes, Firedancer, and Hello Cabaret :)

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u/Deicide_Crusader avatar
Deicide_Crusader
•
4y ago
Revolution Roulette
Yes.

Also Lust for Life.

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DocStout
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4y ago
Lust for Life is a clear frontrunner for me, but Chasing Echoes is fighting with Requiem for My Harlequin for second place right now. I don't like the idea that I might be downgrading the early single just because I know it better than the rest of the album, so it'll take a while for me to sort out my second and third favorites.

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Poets Of The Fall karaoke - Chasing Echoes