Today´s positive/magic song is Teddybears Sthlm´s “Automatic Lover” from their third studio album “Rock ‘n’ Roll Highschool” released in 2000 by MVG. This album marked the band’s transition from grindcore to electronic music.

Teddybears Sthlm began as a grindcore group called Skull. As for the name Teddybears Sthlm, Joakim Åhlund says, “If you’re familiar with the Swedish or Norwegian black metal scene, you know back then every band was called things like ‘Corpse Grinder From Hell’. So we called ourselves the Teddybears Sthlm as an ‘anti’ thing. We were the hardest rocking [band] in Sweden and we’re calling ourselves the Teddybears Sthlm.” The band members started to wear large bear masks in album art and promotional photographs sometime after 2006, before that they appeared in concert and on photos without disguises. The band initially consisted of Patrik Arve and brothers Joakim and Klas Åhlund, before drummer Erik Olsson joined them. They released their debut album “You Are Teddybears” in 1993 and their second album, titled “I Can’t Believe It’s Teddybears STHLM” followed in 1996. Their third album “Rock ‘n’ Roll Highschool” came out in 2000 and consisted of electronic elements. A fourth album, “Fresh”, was released in 2005 and included the singles “Cobrastyle” and “Hey Boy”. A few more albums have followed over the years.

Teddybears Sthlm is one of Sweden´s finest alternative bands with an interesting backcatalogue from grindcore to electronic music. #CoronaBeGoneYouBastard #DaySeventy

Today´s positive/magic song is Tears for Fears “Shout”, released as the second single from their critically acclaimed second studio album, “Songs from the Big Chair” (1985). Roland Orzabal performs lead vocals on the track, with bassist Curt Smith duetting on the choruses. The single was a global and critical success, becoming the group’s sixth UK top 40 hit, peaking at No. 4 in January 1985. In the US, it reached No. 1 on the Billboard Hot 100 on 3 August 1985 and remained there for three weeks. “Shout” would ultimately become one of the most successful songs of 1985, eventually reaching number 1 in multiple countries. “Shout” is regarded as one of the most recognizable songs from the mid-eighties and is also recognized as the group’s signature song, along with “Everybody Wants to Rule the World”.

“A lot of people think that ‘Shout’ is just another song about primal scream theory, continuing the themes of the first album. It is actually more concerned with political protest. It came out in 1984 when a lot of people were still worried about the aftermath of The Cold War and it was basically an encouragement to protest.” — Roland Orzabal

“It concerns protest inasmuch as it encourages people not to do things without actually questioning them. People act without thinking because that’s just the way things go in society. So it’s a general song, about the way the public accepts any old grief which is thrown at them.” — Curt Smith

The promotional video for “Shout”, filmed in late 1984, was the second Tears for Fears video directed by famed music video producer Nigel Dick. It features footage of Roland Orzabal and Curt Smith at Durdle Door in Dorset, England, as well as at a studio performance with the full band (including Ian Stanley and Manny Elias) performing the song amidst a crowd of family and friends. The video reportedly cost only £14,000 to produce. Along with the clip for “Everybody Wants to Rule the World”, the “Shout” video had a big hand in helping establish Tears for Fears in America due to its heavy airplay on the music video channel MTV.

The album “Songs from the Big Chair” peaked at number two in the UK and at number one in the US and Canada, becoming a multi-platinum seller in all three countries. It also reached number one in Germany and the Netherlands and Top 10 positions in various other countries including Australia, Switzerland, New Zealand and Italy. It spawned the international hit singles “Mothers Talk”, “Shout”, “Everybody Wants to Rule the World”, “Head over Heels”, and “I Believe”. It remains their best-selling album to date. A companion video documentary entitled Scenes from the Big Chair was released in late 1985. Once the band had finished a lengthy touring and promotion schedule for the album, they took an extended hiatus from the music industry.

I bought this single in Paris during a family summer trip in 1985. I still have such strong memories of this song and the impact it made on me. And it´s a song that is valid right now in so many ways. I love the opening of the song and Tears for Fears was such a great band back then. ##CoronaBeGoneYouBastard #DaySixtynine

Laurel Canyon, the two-part docuseries, which chronicles the legendary Los Angeles music scene of the late 60s and 70s sounds intriguing.


Today´s positive/magic song is Yes “Owner of a Lonely Heart”, the first track and single from their eleventh studio album “90125”, released in November 1983. Written primarily by guitarist and singer Trevor Rabin, contributions were made to the final version by singer Jon Anderson, bassist Chris Squire, and producer Trevor Horn. It was a commercial success in the United States, becoming the band’s first and only single to reach No. 1 on the Billboard Hot 100 chart and its Hot Mainstream Rock Tracks chart. In 1984, the song reached No. 8 in the year-end charts in the US. The single was reissued various times throughout the 1980s and 1990s with different remix versions and B-sides. The song has been sampled by various artists including Michael Jackson (in his song “D.S.”), German pop-group Tic Tac Toe (in their song “Schubidamdam”), American rapper Kyper (in his song Tic-Tac-Toe), Frank Zappa (in live versions of his song “Bamboozled by Love”) Enrique Iglesias (in live versions of his song Don’t Turn Off The Lights), Max Graham, whose 2005 single reached No. 9 in the UK and Grizzly Bear.

The song’s music video was shown frequently on MTV, introducing the revamped Yes lineup and sound to a new generation of fans largely unfamiliar with the band’s very different earlier work, which had helped to define the genre of progressive rock. The music video was directed by graphic designer Storm Thorgerson who, as part of Hipgnosis, had previously designed the covers for the band’s albums Going for the One and Tormato. The video starred actor Danny Webb. The video was filmed in London, with some scenes filmed on top of various buildings. Scenes of the band playing are also present.

After disbanding the band in 1981, following the Drama (1980) tour, bassist Chris Squire and drummer Alan White formed Cinema with guitarist and singer-songwriter Trevor Rabin and original Yes keyboardist Tony Kaye, who had left in 1971, and began recording an album. They adopted a more commercial and pop-oriented musical direction as the result of their new material, much of which derived from Rabin’s demos, with former Yes singer Trevor Horn as their producer. During the mixing stage former Yes singer Jon Anderson, who had left in 1980, accepted the invitation to return and record the lead vocals, and subsequently Cinema became the new lineup of Yes. “90125” was released to a generally positive reception and introduced the band to a new generation of fans. It reached No. 5 on the US Billboard 200 and No. 16 on the UK Albums Chart, and remains their best selling album with over 3 million copies sold in the US. Of the album’s four singles, “Owner of a Lonely Heart” was the most successful and is their only song to top the US Billboard Hot 100 chart. “Cinema” earned the group a Grammy Award for Best Rock Instrumental Performance. Yes toured for the album in 1984 and 1985 which included two headline shows at the inaugural Rock in Rio festival.

I personally really like the “90125” album and the more commercial and pop/rock-oriented musical direction. And “Owner of a Lonely Heart” is still such a fantastic song. #CoronaBeGoneYouBastard #DaySixtyeight

Today´s positive/magic song is King´s “Love & Pride” from their debut album “Steps in Time” released by CBS Records in October 1984. The single was first released in April 1984 but was not a success, spending only three weeks on the UK Singles Chart and reaching a lowly #84. However, after the group performed the song on Saturday morning television at the end of 1984, CBS Records re-released it and it became a big hit. “Love & Pride” hit #2 on the UK chart in February 1985, remaining there for three consecutive weeks and only being held from the top spot by “I Know Him So Well”, the duet by Elaine Paige and Barbara Dickson. The single failed to duplicate this success in the US, where it stalled at #55 on the Billboard Hot 100.

The album “Steps in Time” peaked at number 6 on the UK Albums Chart and was certified Gold by the BPI. The album included three singles. “Love & Pride”, “Soul On My Boots” and “Won’t You Hold My Hand Now” were all released in 1984 but were initially unsuccessful.

For us belonging to the MTV generation, the singer Paul King is maybe more known for being a VJ on MTV between 1989 and 1994. #CoronaBeGoneYouBastard #DaySixtyseven


Today´s positive/magic song is Hot Chip´s “Melody of Love” from their seventh studio album “A Bath Full of Ecstasy” released on 21 June 2019. The album was co-produced by Hot Chip, Philippe Zdar, and Rodaidh McDonald, marking the first time the group worked with outside producers. The album was preceded by the singles “Hungry Child” and “Melody of Love”.

Joe Levy of Rolling Stone praised the group for making music that is simultaneously philosophical and hedonistic. He called the sound of the record: “calibrated normality giving way to all sorts of experiments and revelations. It’s clunky and smooth, a clip clop symphony of simplicity done up with complicated touches — both sonic and emotional — underneath.” NME’s Elizabeth Aubrey called the album “their boldest offering in years” and “a celebration of life in full technicolour”. She praised the group for making dance music as an act of defiance, writing, “Amidst all the experimentation and extremes of this impressive album is a message about life: bathing in the moments of ecstasy will ultimately enable us to cherish and value life more.” mAnna Alger of Exclaim! also praised the album for its comforting nature, saying that it “provides hope within strife, encourages repeated listens as much for their danceability as the quality of the writing.” Stephen Worthy of Mojo commended Hot Chip for their choice of producers and said the band “remain ruthlessly consistent and relentlessly reliable”. He called the title track “fail-safe festival material” and “Hungry Child” the group’s “purest club moment yet”.

This is such a great track. Just uplifting. #CoronaBeGoneYouBastard #DaySixtysix


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