Unappeased Trivia Quiz

Answer: Phoenix

Suzy Horton turned into a bit of a muse for the young Jimmy Webb. He and Suzy had been dating since high school until Suzy moved to Lake Tahoe to find work as a dancer. She would become Jimmy's inspiration behind "MacArthur Park", which became a hit for Richard Harris in 1968, and this song, which, in 1967, would become Glen Campbell's first solo Top Forty hit.

It was originally written for Paul Petersen at Motown Records but the label was not enamoured with Petersen's version. They passed it around to a number of other artists but were still unimpressed with what was being produced and canned the project.

When Webb was signed to Soul City, Motown allowed him (Webb) to take the song with him and there it was recorded by Johnny Rivers. Campbell heard the track on the radio and thought that he could turn it into a hit.

When Webb heard Campbell's version he immediately felt that Campbell's voice was perfectly suited to the number. He then sat down and wrote "Wichita Lineman" for Campbell which would become a hit for him in 1969.

Answer: Paul

This is the third single to be lifted from the Beastie Boys impressive debut album "Licensed to Ill" (1986) and it is supposed to represent a fictional re-telling of the how the boys got to meet. The Beasties were waiting outside of their recording studio with the view to catch up with hip-hop legends Run-DMC. Joseph Simmons (Run-DMC) came charging out of the studio blurting "Here's a little story I got to tell..." and a whole lot of other stuff that did not make any sense. Suddenly he screamed "THAT'S the song!" From there the Beastie Boys took over.

They used "Here's a little story I've got to tell" as the opening line to "Paul Revere" and they expanded it into a piece of fiction that saw Ad Rock running away from the law (on a horse named Paul Revere), getting held up by M.C.A., joining forces with him and going to a saloon.

Here they meet Mike D., rob the saloon and make off with cash, jewellery, two girlies and a cold beer.

Answer: Page

This song first appeared on Bob Seger's "Back in '72" album (released 1973) and it represents Seger's ode to life on the road as a rock and roll star. He does a sterling job portraying the flipside of fame by delving into the loneliness, the alienation and the aggravation confronted by a travelling act.

This track, along with "Night Moves" (1976) are rare beasts in the Bob Seger portfolio as they began as outlines of songs while he was still on the road. Seger would always claim that while he was on the road there was very little time to indulge in writing.

Answer: Prince

In the late 1970s Adam Ant developed the concept of "Antmusic for Sexpeople" using Burundi drum beats to create a tribal sound full of warrior like energy and dance rhythms. Within this sound he laid messages of vitality and rebellion. In the UK he set the foundations for his success with the singles "Antmusic" (1980, reaching #2 on the UK Singles charts).

This was followed by the re-release of "Kings of the Wild Frontier" (1980 and #2) and "Stand and Deliver" (1981 and #1). By the time "Prince Charming" followed them to the top of the charts Adam and his band were the hottest act in Great Britain.

Answer: Paco

Strongly influenced by The Ramones and the girl groups of the early 1960s, The Spazzys, an all girl band, burst onto the Australian music scene in 2000 with their own brand of high energy punk rock. Their debut album "Aloha, Go Bananas!" arrived in 2004 and they made little secret about who their main influences were by, firstly, including a cover of the 1962 Angels' hit "My Boyfriend's Back" and then producing their self penned number "I Wanna Cut My Hair Like Markey Ramone". "Paco Doesn't Love Me", the second single from the album, is a no-holds-barred piece of punk pop, full of energy and totally irresistible to sing along to.

The single managed to secure a place in radio station Triple J's end of year "Hot 100" list.

Answer: Pete

This track appears on Bruce Springsteen's 2009 album "Working on a Dream" and, at exactly eight minutes in length, it ranks as one of his longest songs. On studio albums that preceded it only "Drive All Night" from "The River" (1980), "Jungleland" from "Born to Run" (1975) and "New York City Serenade" from "The Wild, the Innocent and the E Street Shuffle" (1973) run longer. On this track the titular Pete wakes from a dream in which he'd seen his own death and develops a sense of his own mortality. Looking to outrun it he heads out West with a view to settle down but is eventually tracked down by a bounty hunter.

The bounty hunter is killed in the fight that ensues but it is his dying words that will haunt Pete; "we can't undo the things we've done".

This is Springsteen's way of telling that we cannot run away from our past, that it is a part of us always and it will follow us until the end of our days.

Answer: Pancho

This is considered to be Townes Van Zant's most enduring song. It first appeared on his 1972 album "The Late Great Townes Van Zant" but it didn't become a hit until eleven years later when Willie Nelson and Merle Haggard recorded it as a duet. It has often been claimed by listeners as being about the Mexican revolutionary Pancho Villas but Van Zant has always refuted this.

Answer: Peter

This was written by Henry Mancini in 1958 to serve as the theme to a television series of the same name. He (Mancini) chose to release it as a single but it failed to chart. Interestingly, he then placed it onto an album, "The Music From Peter Gunn" (1959) which would become one of the biggest selling albums of that year in the US.

This soundtrack would also be the beginnings of many collaborations that Mancini would have with the show's writer and director Blake Edwards. The collaboration would involve some 30 films over a 35 year period, including "Breakfast at Tiffanys" (1961) and the "Pink Panther" series of films. Mancini would prove to be a colossus in the music industry - he was nominated for 72 Grammys (he won 20) and 18 Academy Awards (he won 4).

Answer: Porter

In an interview with Hank Bordowitz, who was compiling the book "Bad Moon Rising: The Unofficial History of Creedence Clearwater Revival", John Fogerty recalled that he wrote this song while he was in the Army. Delirious from constantly marching around an asphalt parade ground he started to allow stories to go running through his head. For some reason they all seemed to have a southern "swampy" style about them.

The band had originally recorded the track when they were known as The Golliwogs but they re-released it as part of their self-titled debut album with Fantasy Records in 1967. Fogerty would then go on to say that this song stimulated a significant shift in his writing style; "I gave up on trying to write sappy love songs and stuff that I didn't know anything about, I started to invent stories".

Answer: Paris

David Geffen became the man in charge of Joni Mitchell's record label and he would also become good friends with her. One particular day he confided to her of the pressures that were involved in his job and, as a result, he had become particularly fond of the city of Paris, France.

He enjoyed Paris because he was difficult to contact there, no one was chasing him for favours there... he could "get away from it all" there. This then became Mitchell's inspiration for the above track which appears on her 1974 album "Court and Spark". David Crosby and Graham Nash (from Crosby, Stills and Nash), who were good friends of Mitchells, provide backing vocals on the song and Jose Feliciano contributed to the guitar work.

Answer: Pablo

"The Life of Pablo" is a surprisingly erratic album from the "at times" genius that is Kanye West. You tend to get a feeling that the tracks have been incorporated onto the disc as they came along rather than being mapped out beforehand and then written with a purpose.

As a consequence you tend to listen to a couple of tracks, ignore some, hmm that was interesting, heck, what were you thinking... almost like you're flicking through a magazine. In a similar way, the inclusion of this track (Saint Pablo), almost appears to be an afterthought.

Initially it was leaked on line (March 31, 2016), some say "accidentally", but then removed after a matter of hours. At this point the album had been completed and already released - March 13, 2016. Three months later it was withdrawn (June 14) so that "Saint Pablo" could be added to it, and then, as the final track. West would explain that this was his way of building "a living, breathing, changing, creative expression".

Answer: Polk

Appearing on Tony Joe White's album "Black and White", this was a huge hit for the singer in 1968. White, in an interview, related the story that the song was very well received by the hippie and flower power generation who had mistaken the title as code for marijuana. Often they would catch up with the singer at a show and present him with bags of "grass", advising him that "we brought you a little polk".

There is such a thing as polk salad, it is made from the leaves of polkweed but you won't be able to track the green down at your local supermarket.

The leaves are quite toxic and you will need to boil them a few times to make them safe to eat.

Answer: Pace

The release of the album "Mountain Music" in May of 1982 by the band Alabama, their sixth overall, saw them giving us the first glimpses of the sound that would eventually define them. Yes they still sounded country but within these tracks you no longer heard the mandolin, there is no "down home" sound... there is no "twang" - here there be lots of guitars, electric guitars at that.

This was the "new" country sound. The band were refining their sound and tightening their groove to the point that you could almost label it as "soft rock" and this is particularly evident on their second single from the disc "Take Me Down".

Not only did it reach number one on Billboard's US Country charts it also peaked at number eighteen on Billboard's Hot 100. Borrowing on the Western myth of two gunslingers facing each other at "high noon", "Words at Twenty Paces" comes with a faint swagger and an implied menace as it deals with the breakdown of a once strong relationship, using words, instead of bullets, to tear it all down.

Answer: Piper

This song was first recorded by a duo called The Changin' Times in 1965. It got as high as number 87 on the US Billboard Hot 100, however, the man who turned it into a monster hit was British singer Crispian St. Peters. His version would peak at number four in the US and rise to number five on the UK Singles charts. St. Peters' history is an interesting one. Blessed with a strong voice he had performed with a number of small time bands until he was persuaded to go solo.

His initial recordings did not chart and it wasn't until he'd re-worked Ian and Sylvia's "You Were On My Mind" that he could finally boast a Top Ten hit in the UK. Sadly for St. Peters "The Pied Piper" (1966) would be his biggest hit and by the time that Woodstock came around his chart history was all over.

Answer: Price

The Everly Brothers star was on the wane after 1962 and they were now struggling to make an impact on the charts anywhere. The release of "The Price of Love" in 1965 saw them return to relevance, at least in the UK. Here the single reached number two on their Recorder Retail charts and it made it to the top of NME's charts.

However, it stalled at the shallow ends of the US charts. Bryan Ferry would record a version of this for his 1976 album "Let's Stick Together". He would later release it as an Extended Play (EP) which peaked at number seven in the UK.