Mixed by DCP audible writers


Allyson B. Crawford

Guns n’ Roses – “Paradise City” (from Appetite for Destruction) 

When Guns n’ Roses released Appetite for Destruction in 1987, the five band members clearly had no idea of the impact they were about to make on modern music, let alone the metal scene. Now, decades later, the album remains a consistent top seller. In fact, the album is the best-selling debut of all time. Top singles like “Sweet Child O’Mine” and “Welcome to the Jungle” made Guns n’ Roses a household name. One song, though, gave the band a forever summer anthem: “Paradise City.” Ironically released as a single in the winter, GnR used clips of their summer tour with Aerosmith to keep the warm weather vibe going through the snowy months. Sexy to the core, “Paradise City” mixes Slash’s guitar talent, a killer opening drumbeat and synthesizer to create a completely unique sound. When the song was released as a single in 1988, there wasn’t anything else like it on the music landscape. The huge sound just screams arena tour… and that means tailgating in a parking lot before the show, hanging with friends in cutoff shorts and drinking beer to beat the heat. “Sexy” is a state of mind and “Paradise City” just oozes confidence with a hint of fun. No summer mixtape is complete without this track.

I See Stars – “Electric Forest” (from the album Digital Renegade) 

I See Stars, the young electronicore band from Michigan, enjoyed breakthrough success with their third studio album Digital Renegade. The best known single from the album is easily “Filth Friends Unite,” but the sexiest track on Renegade is “Electric Forest,” a three-way duet of sorts with former The Voice winner and punk-turned-country singer Cassadee Pope. I See Stars vocalists Devin Oliver and Zach Johnson share duties on this album, one taking the melodies and the other taking the more traditional metalcore screams. This, paired with Pope’s smooth voice, make for an uplifting and sexy musical experience. While the track doesn’t necessarily sound like the rest of the band’s output, it’s definitely a great introduction to I See Stars. Moreover, it’s catchy enough to make you want to dance – whether you’re at the beach, at home or driving down the highway. After all, the song is about coming together as one during a giant concert. What could be sexier than a giant metal music orgy? This summer, I See Stars is playing on the Warped Tour. Maybe add this song to your mixtape and listen before heading in to the show.

Mike Ritchie

Kenny Wayne Shepherd – “Blue on Black”

Lyrically, I’ve read several interpretations of the song’s meaning but I find this song sexy in terms of the music and how the lyrics are delivered. The first time I heard it on the radio I said, damn that just sounds sexy. There’s just something about how Shepherd plays the guitar to make the sounds it makes. A certain feeling of enticement with the acoustic tingle from the strings almost creates a comforting effect with the guitar chords. Shepherd’s voice carries a certain deep sultry appeal whether he’s singing about lost love, mistakes made or intimacy.

The music almost builds up a sense of anticipation, making the mood appealing and sexy. Mid-tune the notes have an alluring sensual feel to them, like sounds and movements made during the act.

Ratt – “Way Cool Jr.”

I grew up liking the video for obvious reasons but the lyrics themselves talk about the ultimate player that all the ladies automatically swoon over.

From the beginning sticks played to the opening guitar riff to the ending sax, it just sounds snazzy, sleazy and sexy. Way Cool Jr.’s the ultimate stud, lady’s man and adventure seeker working on the women, comes on real slick. Many probably remember the video more for its succession of lovey ladies, showing initial shock and interest (at face value) for the camera (Way Cool Jr.). The song and video also portrays ‘80s sexism (being lured into bathrooms and a woman walking naked down the street with guitar on her back) and the Sunset Strip scene of the time.

Way Cool’s portrayed somewhat as a well-traveled street musician, steel guitar slung across his back. He makes the guys jealous with a well-spread reputation and has his pick of the women. The song itself is one of Ratt’s most popular tunes.

Matt Clevenger

Chuck Berry – “No Particular Place
to Go” 

Written by one of the great masters of double-entendre and innuendo, this clean-sounding song could easily be considered the great grand-pappy of all dirty ditties.

Originally released as a single in May of 1964, the song tells the story of a young couple out for a romantic drive. The lovers park “way out on the Kokomo,” but their plans are foiled by a stubborn seat belt that refuses to unfasten.

Using music borrowed almost note-for-note from Berry’s 1957 release ‘School Days,” the song went on to become his first new Top Ten hit in six years, and was also included on the full-length album St. Louis to Liverpool. The song has been covered by many other artists, as well, including George Thorogood and the Destroyers who were well known for playing it live.

More subtle than Berry’s 1972 hit “My Ding-a-Ling,’ ‘No Particular Place to Go’ remains provocative today, partly because it often pops up in places where you might not normally expect any sexually-themed songs to be played.

Some music writers have also claimed that the lyrics were written while Berry was actually in prison, serving time under the Mann Act for transporting a 14-year old girl across state lines. While the story has not been verified, they say evidence of this fact can even be found hidden in the song’s fourth verse, where Berry refers to the car as his “calaboose.”

Bob Marley and the Wailers – “Am a Do” (from the album Talkin’ Blues, Tuff Gong)

Bob Marley is best known for his sensitive side, thanks to the world-wide mega-success of relatively G-rated tracks like ‘No Woman No Cry,’ ‘Three Little Birds’ and ‘Could You Be Loved?’

At the opposite end of the spectrum, ‘Am a Do’ is Bob at his easy-skankiest, from the ‘70s-porn music inspired intro to the innuendo-laden chorus. Released after Marley’s death as part of the 1991 album Talkin’ Blues, the song was originally recorded in 1975 during a performance at the Lyceum Theatre in London, England. It was also included as a bonus track on the re-mastered 2001 edition of the classic 1974 album Natty Dread.

“Woman you’ve got your love,” Marley says in one verse, “and I’ve got mine. Then we put them together, they’re going to work so fine.”

“Do it with your bad self, jive me in the mood. Do it with your bad self, let me feel rude.”

Not quite worthy of a parental advisory sticker, but the pronunciation and language barrier also make the song sound even dirtier than it actually is, presenting an almost infinite number of possible interpretations for many lyrics.

Marley was no saint in real-life, despite his public image as a devout Rastafarian. He married his wife Rita in 1966 and they had three children together; the official Bob Marley website currently acknowledges a total of 11 children, including the recording artists Ziggy Marley, Damian Marley and Stephen Marley.

Gary Spencer

The Devil’s Blood “Cruel Lover” (from The Thousandfold Epicentre)

Sweden’s now unfortunately defunct The Devil’s Blood were what many journalists dubbed an “occult rock” band, fusing hard rock and ‘60s styled heavy metal with overt Satanic imagery and a underlying sexual charge that set them apart from their peers. This song, “Cruel Lover”, is a prime example of this alluring sonic concoction that they perfected over the course of their six year existence—a song that would befit the scene from “Rosemary’s Baby” where Rosemary is impregnated by The Devil himself, digging his nails into her back. It has a chugging meter much like the rhythm of intercourse and is littered with lyrics of sexual submission such as “undress me and possess me with your tongues of fire”, all sung with a lustful longing to be seduced with dark desires by female vocalist F. Lemouchi (aka The Mouth of Satan). The song builds up to a stunning climax (pun intended) where the guitars erupt while Lemouchi passionately begs for her cruel lover to “Speak to me in voracious lust, Crush my will and awake the snake at my spine”. This song is intriguing proof that Satanic and sexy are not mutually exclusive terms.

Die Form – “Grey Scale” (from the album Histories)

Die Form is the brainchild of French electronic musician and visual artist Philippe Fichot, whose self-designed cover art is a perfect reflection of his music: twisted, dark, fetishistic and extremely sexual. “Grey Scale” comes from Die Form’s Histories compilation, and it’s a song that just oozes with inferred and overt eroticism. From the slinky yet sexy keyboard melody, to the “come hither and seduce me” rhythm, to the throbbing bass undercurrent, to the icy female vocals that one might associate with a cool and confident mistress addressing a frenzied slave or sub, this is definitely a tune for late, kinky, S&M laden nights with the “friends” you met through your FetLife account. With the repeated lines of “liquid love, love, love”, “more, more, more” and “death, death, death”, the song’s build up to orgasm as “le petit mort” (translated as “the tiny death” to us English speakers) could not be purveyed in a less sonically provocative manner.

Miranda Brooks

Rossonian – “In the Summer”

Denver band Rossonian insists that everyone has more fun “In the Summer”—a lusty song that stands out from their 2015 release Late Kids. The album explores millennial issues of overt special-ness within a generation that is as singled out as it is socially connected. Rossonian gleans its name from an historic jazz club—a century old landmark in the cultural neighborhood of Five Points, Denver.  Jack Kerouac even references the iconic building in his famous writing “On The Road.” Band leader, Seth Evans, traces his roots from Minneapolis. Evans is multi-instrumental and has tonality for days. The band blends genres of pop and rock with sex synth to create some sort of self-described electro-sensual rock and roll. Rossonian was recently named as a runner-up (among some 6,000 entries) in NPR’s Tiny Desk Concert contest for another longing song of theirs, “Love In A Wasteland.” Rossonian even toured through Dayton last year where they played Blind Bob’s and performed a live radio set on WUDR’s Your Tuesday Afternoon Alternative. So, take it from The Ross first hand: “Don’t sweat being stuck cross baby, with your lover.”

Justin Kreitzer

Psychic Heat – “Elixir”

Summer in the plains of Kansas can be quite brutal, much like the humidity-rich weather we experience here in the Miami Valley.  The Lawrence, Kansas based garage-punk band Psychic Heat—consisting of vocalist and guitarist Evan Herd, guitarist/vocalist Tanner Spreer, bassist James Thomblison and drummer Mark Rockwell—burns with the same white hot intensity as the sizzling summer heat on their stunning standout single, “Elixir.” Loud and energetic, the song is taken from their aptly-titled debut album, Sunshower, which was mixed and mastered by former Flaming Lips member Kliph Scurlock and recently released by the Kansas City-based label High Dive Records. Bolstered by its jangly guitars, feverish vocals and seductive hip-shaking rhythm—led by a sexy, serpentine guitar melody—the infectiously catchy song is reminiscent of ‘60s-era psych-pop and would be the perfect addition to the mixtape you take along on your next summer road trip.

So unplug the air conditioning, take off all your clothes, sweat it out and just give in to the blazing heat created by Psychic Heat on their excellent album, Sunshower and their sizzling single, “Elixir.”

Danny & His Fantasy –
“Morning Light”

Pomegranates, the criminally underappreciated Cincinnati-based psych-pop band might have dissolved a few years ago but Joey Cook—the multi-instrumentalist and vocalist with a knack for quirky melodies—has soldiered on. Currently he is performing and recording under his intentionally misspelled given name, JOESPH as a trio that plays a soulful brand of pastoral psych-rock laced with elements of folk, country and Krautrock. Before that project, the eclectically prolific Cook indulged in glittery, exuberantly danceable ‘80s-inspired synth-pop under the moniker, Danny & His Fantasy. The self-titled debut recording was released in 2014 digitally and on limited edition cassette via Cook’s own Eyebrow Palace Records as a split release with Christian Gough, the front man from fellow Cincinnati psych-pop band The Yugos.

One of the standout tracks from that release is “Morning Light” and with its sly Prince-like funk it may be the sexiest song about abstinence that has ever been written. The track opens with lush layers of glassy synths before the bass line struts over and lures you out on to the dance floor and seduces you with flickering disco-funk guitars and a slinky, shuffling rhythm that urges you to shake your booty.  In his soaring falsetto vocal style, Cook delivers persuasive lines like, “let’s say goodbye until the morning light” with steady conviction.  Be sure to include Danny & His Fantasy’s “Morning Light” on your sexy summer mixtape and dance the night away!

To reach Allyson B. Crawford, email AllysonCrawford@daytoncitypaper.com. To reach Mike Ritchie, email MikeRitchie@daytoncitypaper.com. To reach Matt Clevenger, email MattClevenger@daytoncitypaper.com. To reach Gary Spencer, email GarySpencer@daytoncitypaper.com. To reach Miranda Brooks, email MirandaBrooks@daytoncitypaper.com. To reach Justin Kreitzer, email JustinKreitzer@daytoncitypaper.com..

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About Allyson B. Crawford

View all posts by Allyson B. Crawford
Allyson B. Crawford lives in Kettering and writes about ’80s metal bands on her daily blog bringbackglam.com. You can usually find her at all sorts of metal shows around Ohio and across the country. Allyson can be reached at AllysonCrawford@DaytonCityPaper.com

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