The Dirtbombs — Motor City Baby

MCR - Thank You For The Venom (Live, Warped Tour)

Bruno Mars - Uptown Funk (which I was actually bed dancing to while I was in labor)

Bob Seger - Rock N Roll Never Forgets

Hell, anything by Bob Seger except "Beautiful Loser" and "Against the Wind." (Which are great, just not cheery.)

Outkast - Hey Ya!

The Darkness - I Believe in a Thing Called Love

Elton John - Step into Christmas, Island Girl

My "fun" playlist includes things like Girls Just Wanna Have Fun, Poison (BBD), Brass Monkey (Beastie Boys), Shining Star (Earth Wind & Fire), If I Was Your Girlfriend (Prince).

Ack, another great weirdo gone. RIP Paul Katner. Definitely preferred the Airplane to the Starship, but at least he knew when to get off (and prevent them from using Jefferson in the product that produced "We build this city"). "After Bathing at Baxter's" is a long time favorite of mine of whacked-out psychedilica that's less than well known. Doesn't hurt as much as Bowie for sure as the vital years were long gone, but still a bit of a kick in the teeth.

Google Play price for the Hamilton OC recording is $0.99

I've been working my way through the Bowie catalog (in my car) in reverse (mainly so I can pick up some earlier stuff I only have on vinyl). Interesting to pick stuff up like that he took the chorus of a song on HEATHEN to use as the main part on the song Lazarus from his last album/musical title track. Not the words but the music. I'm curious how conscious that was, but it's wonderful. Those later albums (and I don't mean just Outside or Earthling) have a lot going on I missed before.

Here's a question that has been bothering me. I've read reviews of, for example, Justin Bieber's new album, that talk about the messages he's sending with his songs - redeeming his public image, relationship commentary and stuff. But obviously Justin Bieber does not write his own songs - he's not a singer-songwriter. And I read about how these star pop song producers - mostly from like Norway for some reason - write songs and shop them around to various pop stars. So, why do music reviewers talk about a new album by one of these pop stars as if it's revealing personal truths about the artist's life? Am I missing something?

All the top-tier pop stars will get a co-writing credit for all their songs (and a cut of the royalties), regardless of how much they contribute.

Honestly, I think the bigger question is why we care about a mega-twerp like Bieber in the first place.