Uh-Oh! Trivia Quiz

Answer: Oscar

This is another Bernie Taupin lyric. It is also the first track that Elton John composed for his stunning return to form, the 2013 album, "The Diving Board". It looks at Oscar Wilde, the Victorian era playwright, and his sentencing to two years hard labour for homosexual offences with Lord "Bosie" Douglas. Taupin presents the image of Wilde standing before the public at Clapham Junction while he's being readied for his transfer to Reading Gaol (Jail).

He is being mocked and derided and, here, Bernie draws a comparison between he and Jesus Christ just before his crucifixion.

Answer: Olsen

This was the third single to be raised from the Spin Doctors' first studio album "A Pocketful of Kryptonite" (1991), an album that would reach number three on Billboard's 200 Album charts. It would sell so well that it would be certified five times platinum by the RIAA. "Jimmy Olsen's Blues" is one of those rare tracks that deals with the "Superman" myth but does not focus on the hero.

Instead it takes a look at Jimmy Olsen, the fictional Daily Planet junior reporter and friend of Superman, who is down in the dumps.

He has a crush on Lois Lane but Lois only has eyes for the "Man of Steel", whom Jimmy knows he cannot compete with. The album takes its title from a line within this song. The "Superman" theme is taken a step further with the cover of the album highlighting a phone-box - Superman's clichéd "change-room" made famous in the television series that ran between 1952 and 1958, starring George Reeves in the title role.

Answer: Osama

Against Me's "Transgender Dysphoria Blues" (2014) album was originally set to be a concept album that dealt with the life of a transsexual prostitute. That was before Laura Jane Grace revealed to the world that she was woman trapped in the body of a man.

This splintered the band and their dynamic changed. However, what remained became a re-invigorated group, producing one of the band's finest albums. In "Osama Bin Laden..." Grace rages that nothing is as it seems and then extends that notion to her own situation.

She appears to curse herself for being born the way she is, for being one thing but looking like another. Here she draws the similarity to Bin Laden who can be viewed as a Messiah by a nation of peoples and a pariah by others.

Answer: Orlando

You need to go back to the 1600s to track down the origins of this little gem. It was written by John Dowland (1563-1626), an English Renaissance composer and lutist, probably better known for such melancholic numbers as "Flow My Tears" and "Come Heavy Sleep". "Orlando Sleepth" is an instrumental piece created for the lute but it is now an integral part of the classical guitar repertoire.

This, along with other Dowland creations, have undergone an enthusiastic resurgence as part of the "early music revival" trend.

Answer: Oz

Ross Wilson was the frontman and main songwriter for Australian bands such as Daddy Cool and Mondo Rock. During the period between these two bands he sought to establish a solo career that began with the composing of the soundtrack for the Chris Lofven directed film "Oz - A Rock 'n' Roll Road Movie" (1976).

The movie, which was marketed in the US as "Twentieth Century Oz", is a re-interpretation of the "Wizard of Oz" (1939) film with its target market being the younger demographic. Whilst the soundtrack did not fare well for Wilson, the single, "Living in the Land of Oz" did and is seen as his first solo success.

Answer: Owens

Charlie Owens is one of Australia's finest guitarists and has a career that sees him linked or associated with some of the biggest names in the Australian music scene. Paul Kelly is one of Australia's finest songwriters and he recorded this track for his "Words and Music" album in 1998.

In it he recounts the story of the time he first saw Owens performing at a Tendrils gig - The Tendrils were a duo made up of Charlie and Joel Silbersher. In an interview Kelly was to reveal "Charlie played a strange, harsh run of notes that seemed wrong to me at first.

But when I heard them a second time, a verse or two later, they lifted my head clean off my shoulders". Owens' slide guitar, the subject of this song, is a 1930s Dobro Kluson. It was stolen from his house in a burglary in 2005.

The thief was caught but had already on-sold the guitar. Owens did, eventually, track it down.

Answer: Oxford

I have to admit to not knowing what an Oxford comma was before researching this song. So, for those in the same boat as I was, it is the comma that comes before a conjunction in a list of three items or more. For example; Lynyrd Skynyrd, The Drive By Truckers, and Vampire Weekend.

The comma after Drive By Truckers, which many consider superfluous, is an Oxford comma. This track appears on Vampire Weekend's self-titled 2008 album and the band use it as an opportunity to take a swipe at nineteenth century English intellectuals and their "linguistic imperialism" that burdens society with such a rule of language.

The unfortunate part for the band is that their brand of music has often been branded as "elitist" and this track only served to reinforce that notion.

Answer: Orville

Picture a ventriloquist. Now imagine his sidekick as an overweight green duck. Is it possible that this combination could be responsible for a hit song? As ridiculous as it sounds it actually happened. Keith Harris, the ventriloquist, engaged Bobby Crush to write what would become the theme song for his and Orville's (the overweight duck) television series. Crush used bits of information from episodes that had previously been aired to create the lyrics.

The pair (Keith and Orville) recorded the track at Abbey Road Studios in 1980. Harris self-funded the £3,500 fee to put the song to vinyl because everyone else thought it was terrible.

The label even suggested to Harris that he "leave it in the bin" on the way out. The song was a sleeper and, after three years and thanks to the growing popularity of their show, it roared up the UK Singles' charts to number four. Harris would point out to the label how supergroup ABBA could only languish at number sixteen while he and the duck were outselling them.

Answer: Orinoco

This was the first hit single off Enya's second studio album "Watermark" (1988) and it would soon become her first big hit. The track peaked at number one on many charts around the globe. In the UK it was number one on the singles chart for three weeks. Whilst the song did draw some inspiration from the South American river of the same name, its title was actually the name of the studio in which the song was recorded.

The man responsible for signing Enya to WEA, and also the producer of her "Watermark" album, is Rob Dickins.

He was highly influential to the artist and, as a result, found himself incorporated into the lyrics; "We can steer, we can near, with Rob Dickens at the wheel".

Answer: Oliver

This extremely "poppy" number rises from Elvis Costello's 1979 album "Armed Forces" and it ranks as one of his most recognizable tunes. Its lyrics zero in on the idea that the only real option for London's unemployed was to join the army. It should be noted that at the time of its writing Great Britain's unemployment figures were amongst its highest ever.

Despite the song's success it nearly did not make it onto the album let alone be released as a single. Nick Lowe, the album's producer, in an interview with "Uncut" magazine advised that the song wasn't working for Elvis and that the harder he tried to fix it the more he got frustrated with it.

It was at this point that keyboard player Steve Neive piped up and said "What if I throw in an ABBA style piano part into it"? Everybody went silent - whilst ABBA were considered to be really good, no one really wanted to own up that they listened to them.

Then came the consensus, "what have we got to lose"? Steve did his piano part and it gelled. Suddenly the song went from being "black and white to fireworks".