Episode 053 - Hidden Gems, Vol. 2

Welcome to the start of season three of the Rock-N-Roll Show Podcast! In this episode, we are sharing some more hidden rock gems—songs that should have been hits but somehow flew under the radar. Get ready to explore tracks like 'Moonbeam Woman' by Freak Power, 'SOB' by Lisa Marie Presley, 'Texas' by Chris Rea, 'Take It Off' by The Donnas, 'Three Strange Days' by School of Fish, and 'She Devil (Shout It Out Loud)' by the Cocktail Slippers. Tune in for some great tracks and fascinating stories behind these underrated songs.

00:00 Welcome to Season Three!

02:33 Moonbeam Woman by Freak Power

09:07 SOB by Lisa Marie Presley

15:19 Texas by Chris Rea

20:20 Take It Off by The Donnas

24:24 Three Strange Days by School of Fish

31:09 She Devil by The Cocktail Slippers

36:27 Wrap Up

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Transcript

Alex Gadd: 0:00

Welcome to the start of season three of the Rock-N-Roll Show Podcast. I'm your host, Alex Gadd, and it's great to be back with you. This week I'm gonna share another set of hidden gems. Songs that I really like, but for whatever reason, were never really hit records. What makes a song a hidden gem? Well, it starts with a song that I really like. From there, I used only three rules. The song never got into the top 40 in the Billboard Hot Ones, hundred singles chart number two, the act is no longer together or performing. Number three, the song is available on both Apple Music and Spotify. So please join me as I share some less familiar but just as cool rock songs. It should have been bigger hits coming up right now i've always enjoyed turning on my friends to cool songs that sound like they should have been huge hits, but never were. Now, I'm gonna do that for all of you. Of course, there's always a chance that you've heard one or more of these songs, especially if you're a music nerd like me. So if you have, I hope you'll enjoy revisiting them again but if you haven't, I hope you enjoy finding these hidden gems. As I mentioned, the only parameters that I use to qualify a song as a hidden gem are that they were never a top 40 hit in the Us. That the act is no longer performing live or making music. And that the song has to be available on both Apple Music and Spotify. That's it. That means that Tommy two tones, 8 6 7 5 3 0 9. Jenny isn't on this list despite it being one of my favorite songs to cover in my previous cover bands because it was a one hit wonder that actually topped out at number four on the hot 100 singles chart. The Black Crow's Blackberry is one of my all time favorite songs from the band's 1996 album, three Snakes and One Charm, but it won't be included here because the band reformed back in 2019 and they've been touring and releasing new music again for the past six years. Finally, both Bottle Rockets, Radar Gun, and Don Dixon's. PReaing Mantis aren't on this list because neither is of currently available in the US on either Spotify or Apple Music, even though those are two other favorite songs of mine. That's the downside to subscribing to music instead of owning the physical media. Say Lavie. Anyway, let's get to it. Our first hidden gem is Moonbeam Woman by a British band called Freak Power. They released two albums in the mid nineties, and Moonbeam Woman is the first song on their debut album, drive Through Booty. I found this album in London at a time that I was traveling there pretty often for work. I was doing training sessions for British Airways employees about what the internet was and how it was gonna impact the lives of everyone, including those British airway employees. I heard another song from the album Drive Through Booty on the Radio. The song was called Rush. It's a good song. Good enough to encourage me to buy the CD the next time I went over there because I couldn't find it when I came home to the States. So I went back to London. Bought the album and the track Moonbeam Woman is the one that stood out as the highlight for me. It's a Gemre hopping groove heavy ride that combines acid, jazz, funk, soul, and a little bit of tongue in cheek attitude, and it holds up totally. Freak power was the brainchild of Norman Cook and trombonist vocalist Ashley Slater. Cook would later go on to become Fat Boy Slim. Years earlier, he and Slater put together a band that had chops for days. They sounded so cool and laid back. They were totally in the groove. The production is tight. The playing is ridiculously good. The vibe is just pure late night. Cool. You can put this record on at a party and people will start asking you who it is before the first chorus comes around. And while the whole album is definitely worth the listen, Moonbeam Woman is the standout track. It's smoother than it has any right to be. The track builds slowly but surely towards a crescendo at the end with a strong rhythm section holding it down. It's got a laid back jazzy shuffle that makes it feel like the kind of song you'd hear at a dimly lit bar where the band's just a little too good for the room. Lyrically, it's part dream, part seduction, totally in its own lane. It doesn't try to blow the doors off, it just glides. And in an era where a lot of nineties albums were chasing grunge or hip hop freak power, carved out this little corner of funk out weirdness and absolutely owned it. In my opinion, drive-through Booty deserves way more love than it ever got. It's smart, fun, and totally confident in its own thing. And Moonbeam Woman, remains at the top of my favorites playlist. Check it out.

4:54

Who's that? Sister made her own space. She got wound dusted a fro. Damn. We miss her sugar. Some face wistful, moon beam. Sense to go. Six months later, she steamed up the van. We got no small surprise. The moon woman sits on her hand, the naughty sparkle in. Rival never been kissed, strolled up, speaking tongue, settled nicely up to the rest, grind into the basin, the drum. Later, she's back in strife, down full circle up on her feet. She's getting. The playmate wrong, we should. You as she destruction, digs the light. Next each. My moon beam lady sh get somewhere her. Stop to down, stop to down to down.

Alex Gadd: 9:08

Hidden Gem number two is SOB by Lisa Marie Presley. Yeah. Elvis's only child recorded original music and it was really good. This track was the opener from her 2005 album, to whom it may concern, its raw, fierce, and brimming with attitude. When I heard it for the first time, I was struck by how confident and unfiltered she sounded. She wasn't leaning on her father's legacy, nor was she chasing any trends. She was definitely just doing her own thing. The album actually debuted at number five on the billboard chart, but beyond the single lights out, it didn't get much attention. I know it's weird to say that for an album that went to number five, but it rose quickly and faded quickly and it didn't get the attention that it deserved. I think a lot of people saw her name and dismissed the whole project as a vanity record, and while her last name probably opened some doors, it also I bet, created some impossible expectations. People didn't seem to be able to separate her music from her family and her last name. I really thought SOB would be the breakout single on the record. Instead, her label pushed another track called sinking in as the second follow-up single to lights out and sinking in. Didn't really move the needle that much. It's a shame because SOB flat out smokes. It's a sultry swaggering rock track with bite It's clear this isn't some polished pop product. The song has edge to it. Presley delivers. Every line like she means it. Her voice is smoky and textured full of emotion. You can tell that she's singing something that's very personal to her. The production leans into that attitude. The guitars are front and center. The drums hit hard, and there's a little swing to the rhythm section that gives the whole track a, a polished up garage band energy. It sounds like it was meant to be played loud, preferably while maybe driving a little too fast with the windows down. What makes SOB stand out for me is how emotionally layered it is. Yeah, it's angry, but it's also self-aware. Even empowering. Presley's not stuck in heartbreak. She's calling it out, reclaiming control and doing it with style. That kind of emotional clarity delivered with that kind of bite is rare to hear. Sadly, Lisa Marie Presley passed away just over two years ago at the age of 54. She left behind three albums. All of them are worth hearing. In my opinion though, SOB is her best song. It's gutsy, it's catchy, it's honest. If you skipped her music thinking it was just a celebrity side project, or you never heard that she made music, go check it out. Give this one a listen. You might be surprised by how much she had to say and how well she said it. Here's SOB.

11:56

Just say I. Because I. And then I, the sky and I. My bread. I said, I just like to.

Alex Gadd: 15:19

Next up is a song Texas by Chris Rea. This is a song I first heard while DJing at WIZN in Vermont. Right around the same time I discovered the title track from his 1989 album, the Road to Hell. Both tracks stood out immediately. I. They're moodier, smokier and more cinematic than most of what I was playing or listening to back then. Texas especially feels like it should be played in the background of every dusty bar scene of every road movie made since its release. The groove is swampy and slow burning with a bluesy shuffle that kind of rolls like a car cruising endlessly down the highway. Rea's slide. Guitar work is understated but masterful here. His tone is warm and expressive. He's never really showing off. Just playing to fit the music. His deep gravelly voice, kind of like a smoother version of Mark LERs singing style carries this dreamy, slightly ironic o to a place that isn't the real Texas, but is the idea of it. It's a myth. It's a fantasy escape where the bars never close. All the women are tall and beautiful and no one cares about your past. One eye in particular hits harder now than it maybe even did then. H e says It's all gone crazy and his only response is to go to Texas where the roads go on forever. This was 1989. It's a sentiment that kind of echoes. Springsteen's born to run. The open road is salvation, but here it's more world weary than rebellious. That feeling of wanting to disappear into someplace, imagine someplace untouched by the chaos of real life. Yeah, that still works. The production's clean, but earthy. The band keeps everything tight and restrained, giving the tracks plenty of space to breathe. There's no need for flash or volume here. It's all about the feel. Before you know it, you're humming along, totally wrapped up in the atmosphere. In my opinion, Texas is one of Chris Rea finest moments and a perfect example of how a great song doesn't have to shout to make its point if you've overlooked his catalog. Start here. It's a slow burn, but once it gets under your skin, it stays there. This is Texas by Chris Rea.

17:46

You think about it lately watching some. What has come to be and talking with my neighbor and he agrees with me. It's all gone crazy. Well, my wife returns from taking my little girl to school, Sher. She tries to. Best don't get no better. It's gonna come a day. Someone's gonna get killed up there. Turn, she says what I said. She says what? They big roads out there. You gotta. Gotta get outta here. You gotta get outta here. Well, I got a little brother. He high here. He's built just like a quarterback. He. I'm gonna Texas, I'm going.

Alex Gadd: 20:21

The fourth hidden gem today is take it off by the Donnas. It's a track that's pure, unfiltered, rock and roll adrenaline released in 2002 on their fifth album, which was their major label debut called Spend the Night. This song is a swaggering riff heavy anthem that channels the spirit of the Runaways, but with a little bit more AC/DC oomph. The Donnas came from Palo Alto, California. They started as a high school group back in the early nineties and evolved into a powerhouse of punk-infused hard rock. Take it off, showcases their ability to blend catchy hooks with raw energy. The opening guitar riff grabs you instantly and Brett Anderson's vocals exude confidence and attitude. It's a song that doesn't ask for attention. It demands it. Lyrically the track flips the script on traditional rock tropes instead of objectifying women. It's about owning desire and aGemcy, challenging the listener to reconsider their expectations. It's bold, it's brash, and unapologetically fun. The production's tight with driving drums, crunchy guitars that make it impossible to ignore. It's no surprise that take it off, found its way into films like Dodgeball and The Hangover Budweiser commercials, even video games like Guitar Hero. Take it off as a standout track that encapsulates what makes the Donnas great. It's a celebration of rock's, rebellious spirit delivered with a fresh twist. If you're looking for a song that's equal parts, attitude and fun, this is it. Crank it up and let the Donnas remind you what rock and roll is all about.

21:51

Okay, great. I on a second dream, but I a be. Take it off. Take it off. Shake it off, baby. Come off. Stop staring Aty cup. Don't wait time. Just give it to me. Come on Maddy. Just fill me up. Come just it. Go on and take it off. Take it off. It. Gotta shake it off. Forget the application. Let take you on vacation. Just do it. Get has it. Go on and take it off. You've got shaking off, baby for you. Come on and. It it off, off.

Alex Gadd: 24:24

Next on our list of Hidden Gems is Three Strange Days by School of Fish. It's a track that captures the feel of the early 1990s alternative scene really well. It was released in 91 on their self-titled debut album. And this song blends psychedelic textures with sharp guitar risk, creating a sound that's both dreamy and edgy at the same time. And that kind of to me. Captured what the essence of alt rock really was at that time. Perfectly. From the opening chords. Three strange days pulls you into a world of hazy introspection. Josh Clayton felt's vocals carry a sense of disorientation and vulnerability, perfectly complimented by Michael Ward's swirling guitar work. The lyrics paint a picture of someone lost in their own life and maybe just adrift, perhaps after a personal upheaval or existential crisis. The song structure is equally unbalanced as the verses are meandering, and there's no real chorus just to refrain at the end of each verse. And then there's one bridge by moving away from the standard verse, chorus, verse, chorus, bridge, chorus, rock and roll song structure. The music accentuates the song's, themes of disorientation. I was a DJ again at WIZN when this song came out, and we played it for a bit, but it never really gained the traction I thought it should have. Interestingly, I found out soon after I first heard the song. That singer Josh Clayton felt was in fact a distant cousin of mine through multiple marriages, though we never met. The band unfortunately broke up after only two albums with Josh Clayton felt starting a solo career. Michael Ward joining the wallflowers with Jacob Dillon, and unfortunately, both men have since passed away. Despite its strong composition and relatable themes, three strange days didn't achieve significant commercial success. Peaking at number 12 on the mainstream rock tracks chart. It's a standout track that deserves more recognition than it got. I encourage you to give it a listen. Because it encapsulates a moment in time when alternative rock was really finding its voice, and it was very different from the Nirvana's and the Smashing Pumpkins of the day, but there was no less compelling. Finally, our last hidden gem this week is she devil shouted out loud by the cocktail slippers. It's a killer track from a criminally underrated band outta Oslo, Norway. If you've never heard of them, don't worry you're not alone, but go check'em out. Sign to Little Steven Vance's. Wicked Cool Label. The cocktail slippers are a five woman rock band that blends glam garage and pop punk into a sound that feels like it should be blasting out of a jukebox in a roadside bar. And she devil shouted out loud is their calling card. Let me start out by admitting that I'm breaking one of my own hidden GEMS rules here by including this track, because the cocktail slippers are very much still together. They're on tour right now, so whenever you get a chance, go see'em. I first checked out the song because I wondered if the song was a cover of the Kiss tune. Shout it out loud. One of my favorite songs from kiss, but this is 100% its own thing. This song is a little glossy and a little gritty. Totally infectious the track channel, some of the same swagger you get from Joan Jett or late seventies blondie. It's tough, it's confident, and it knows exactly what it wants to be. What I love most about She Devil is what I also love about the Donna Song. It leans into classic rock tropes, the femme fatel the Wild night out, but it flips the script just enough to make it feel fresh. The song isn't about a girl. This is the girl singing the song. There's aGemcy and power here, but it's delivered again with a wink and a sneer. They even have a preacher type taking over the bridge, claiming that if rock and roll is the devil's music, then a woman playing rock music must be a she devil. Hence the title. The band's locked in on this track Tight rhythm section. Punchy Wrists, a great keyboard line, tying it all together, and a production style that keeps things rough around the edges in the best possible way. The cocktail slippers never have gotten the exposure they've deserved outside of Europe and the underground garage crowd, but she devil is proof that they belong on a bigger stage. It's one of those tracks that makes you sit up halfway through and think, why aren't I hearing this on the radio? It's so catchy. She devil does exactly what a great rock song should do. It kicks in the door, makes its presence known and leaves you wanting to hear it again the second it ends. If you're looking for a classic that you've never heard before, that has attitude and hooks for days, this one delivers. Take a listen.

33:28

Oh, hear me? I've got one thing to say. A shout out loud. Hey, get this straight away. So you say you think I sound straight to mainstream and wake up Slap I day dream. Here's the thing. You say that's all too slow. Yeah, you need to pull the BA too low there. It doesn't suit you girls, all that, so, so yeah, I don't. She know what I. Is Adam and E and who ate that Apple first? Mm-hmm. Now, if rock and roll is the devil's, then it follows that a woman rock roll. Damn.

Alex Gadd: 36:27

Okay, so which are your favorite hidden gems? Please let me know which ones you like the best in the comments. That's it for this week's episode, and thank you for joining us. I'll be back next Tuesday, and if you like what you heard today, I'd appreciate it if you would like and subscribe or follow to make sure you get notified about every new episode, and please tell your friends. Also, a reminder that I release a playlist for every episode, so look for the Rock-N-Roll Show Podcast Playlist on Spotify every week this week, featuring these new hidden gems. So check that out. Additionally, I wanna know what you think. So please leave me a comment and I'll try to respond to every one of them. The Rock and Roll Show Podcast is a World Highway Media production. I'm your host, Alex Gadd, and until next time, remember that life is short. So get those concert tickets.