Explore every episode of the podcast The Secret Life of Songs

When Bruce Springsteen was asked why he was invited to write the theme song for 'Philadelphia', the first mainstream motion picture about the AIDS crisis, and one of the first films made in Hollywood featuring a gay protagonist, he responded that the film's director, Jonathan Demme, had 'wanted to take a subject that people didn’t feel safe with and were frightened by and put it together with people that they did feel safe with'. The song that Springsteen would create in response to this brief was 'Streets of Philadelphia', and it plays over the film's long opening credits sequence, Springsteen's murmured vocals echoing over shots of the city's inhabitants and some of its historical landmarks. Why would the presence of Springsteen have helped viewers feel less frightened by the subject of AIDS? And what does this particularly strategic soundtrack casting do to the meaning of the song?

All the songs discussed in this episode, including the original recording of 'Streets of Philadelphia' can be heard here. If you've enjoyed it, please leave a review on Apple podcasts; thank you.

With very special thanks to Paul Wierdak, the producer of this episode. 

'I Wanna Dance with Somebody' is now safely embedded in the pantheon of great songs: a 2023 Billboard poll named it the greatest pop song of all time, and it continues to be an ever-present on pop radio and wedding playlists. When it was first released, however, as the lead single from Whitney Houston's second album, it prompted a widespread critical backlash. Rolling Stone found it 'ridiculously safe' and the novelist Trey Ellis called it 'lifeless'. This would culminate in the notorious moment at the 1989 Soul Train awards when Houston was audibly booed by the live TV audience. What was behind this controversy and what does it tell us about freedom, a concept which seemed to attach itself to Houston throughout her career, which people heard in her singing and expected her to represent?

All the songs discussed in this episode, including the original recording of 'I Wanna Dance with Somebody (Who Loves Me)' can be heard here. If you've enjoyed it, please leave a review on Apple podcasts; thank you.

With very special thanks to Paul Wierdak, the producer of this episode. 

How does a record make us feel like we're in a vast space, one that we've never experienced, one that may not exist? In this episode, the last of the series, I look at the Phil Spector production, 'River Deep — Mountain High', performed in 1966 by Tina Turner, to explore how we hear space in music. It was a groundbreaking record in its time, costing an unprecedented amount of money to make, and it still sounds as if it's pushing at the outer limits of what can be captured on record. I'm interested in how we experience all that as listeners: how something so apparently small as a three-minute pop song can contain intimations of cavernous feeling and impossible depths.

All the songs discussed in this episode, including the original recording of 'River Deep - Mountain High' can be heard here. If you've enjoyed the episode please leave a review on Apple podcasts! Thank you :)

Since I first started listening to pop music, I've wondered about what's really going on in songs about love. Something seems to haunt expressions of romantic affection or loss, something that often seems to go beyond the strict meaning of the words. How can we explain the power of apparently simple songs about heartbreak and devotion? This episode looks into the history of American popular song to seek an answer to the question of meaning in songs about love, and to wonder what a classic love song - Curtis Mayfield's 'The Makings of You' - might be saying to us, if we could take into account the reverberations that echo from its musical histories.

All the songs discussed in this episode, including the original recording of 'The Makings of You' can be heard here. The version of 'Steal Away' heard in the episode is based on a performance by McHenry Boatwright, which isn’t on Spotify but can be found - at the time of publication - on YouTube.

If you've enjoyed the episode please leave a review on Apple podcasts! Thank you :)

When Patsy Cline first heard Willie Nelson's demo version of 'Crazy', she didn't like it, thinking it sounded too vulnerable and heartbroken. Talked into it by her husband and her producer, she would make a record that seemed to capture something fundamental about the lives of its contemporary listeners, but while much has been written on Cline's status as a pioneering woman in the male-dominated world of country music, the fact that the song and many of her other famous singles - like her first hit, 'Walkin' After Midnight' - hint strongly that the persona of the singer is going mad, has been mostly overlooked. In this episode I look at both songs and ask why madness might have played such an important role in the career of the most important female country singer of the late 1950s, and what it might tell us about the lives of men and women of the era.

All the songs discussed in this episode, including the original recordings of 'Walkin' After Midnight' and 'Crazy', as well as Willie Nelson's demo recording, can be heard here.

If you've enjoyed the episode please leave a review on Apple podcasts! Thank you :)

What does a chorus do in a pop song? Among our most basic assumptions about what will happen in a pop song is the expectation that it will lead us towards the fulfilment and clarity of a chorus, so it’s always interesting when a song chooses not to do this. Looking at this question in the context of Otis Redding’s 1966 version of ‘Cigarettes and Coffee’ can tell us something about what pop songs as a whole express to us: the way - perhaps unconsciously - listening to them shapes our understanding of the world.

All the songs discussed in this episode, including Redding’s version of ‘Cigarettes and Coffee’, can be heard here. The original, by Al Braggs, isn’t on Spotify but can be found - at the time of publication - on YouTube.

If you've enjoyed the episode please leave a review on Apple podcasts! Thank you :)

The history of rock music is in large part a history of men writing condescending and degrading songs about women, so it's interesting when a songwriter like John Lennon - with a track record of some of rock's most notoriously misogynistic lyrics - performs a song that at first listen appears to be apologetic and self-critical. In this episode, I look closely at the songwriting in his 1971 song, 'Jealous Guy', in the context of rock's historic sexism, to see how convincing this gesture of apology really is.

All the songs discussed in this episode, including the original recording of 'Jealous Guy', can be heard here.

If you've enjoyed the episode please leave a review on Apple podcasts! Thank you :)

The story of Billy-Rae, the preacher's son, and the singer of 'Son of a Preacher Man', stealing away from their parents to discover love in the back yard is contained in one of the most familiar and enduringly popular songs of the 1960s. The scene Dusty Springfield paints with such flair is one of the deep American South, so it might come as a surprise to learn that she was born Mary O'Brien in Enfield, north London, with Catholic parents originally from County Kerry. How - and why - did Springfield choose such a distant musical culture to inhabit in this celebrated song about sexual discovery? I look at the role the 'blues style' plays in the song, as well as the songwriters' brilliant use of song structure, in order to address questions of race and sexuality in blues-influenced pop music of the era.

You can listen to the original recording of 'Son of a Preacher Man' here. If you've enjoyed the episode please leave a review on Apple podcasts! Thank you :)

The story of the Beach Boys starting out as preppy Californian surf-popsters to become Rock n Roll Hall of Famers responsible for 'Greatest Albums Ever' list perennial 'Pet Sounds' is a familiar one. This narrative tends to overlook the currents of tension and angst rippling under the surface of both the early pop hits and the Phil-Spector-meets-Maurice-Ravel grandeur of their mature work. 'God Only Knows', one of the most analysed and acclaimed songs in pop, is a case in point: how does this stately orchestral masterpiece (and wedding reception stalwart) manage to hide in plain sight so much fear and doubt: "God only knows what I'd be without you"?

All the songs discussed in this episode, including 'God Only Knows', can be heard here

If you've enjoyed the episode please leave a review on Apple podcasts! Thank you :)

The classic Motown duet, 'You're All I Need to Get By', seems to be about commitment - about a love which has recently been embarked on and which stretches ahead into the future - has come, perhaps surprisingly, to resonate with those mourning the loss of loved ones, including Marvin Gaye himself, who chose this song to play as he gave his eulogy at singing partner Tammi Terrell’s funeral. I look at this iconic soul recording, and in particular the song's use of pedal notes, extensions and inversions, to explore how it manages to chime with people in this way.

All the songs discussed in this episode, including 'You're All I Need to Get By', can be heard here

If you've enjoyed the episode please leave a review on Apple podcasts! Thank you :)

The 1960s girl group genre might seem an odd place to find tragedy, particularly when it's wrapped in such apparently joyful music as The Chiffons' 'One Fine Day'. Legendary songwriting partners Gerry Goffin and Carole King manage the difficult trick of combining the bright-eyed optimism of new love with the sad certainty it'll never be realised in a song which takes in influences from both doo-wop and opera. It's a wonderful demonstration of the way minor chords and 'blue notes' can make a song more emotionally complex and true-to-life.

All songs discussed in the episode, including 'One Fine Day', can be heard here

If you've enjoyed the episode please leave a review on Apple podcasts! Thank you.

How does a song make us feel like we want to go home? that we miss someone who has left us at a home that now feels nothing but empty? that they may never come home, though we'll never stop hoping? In this first episode, I look at Sam Cooke's song, 'Bring It On Home to Me', to introduce the concept of the 'home' chord and to explore all the ways Cooke uses melody, harmony, lyrics and more to achieve a powerful expression of missing someone, of longing for their return.

All the songs mentioned in the episode, including 'Bring It On Home to Me', can be heard here

If you've enjoyed the episode please leave a review on Apple podcasts! Thank you.

Of all the pop songs released in the era this series has been looking at, there are few which command the depth of love and affection as Cyndi Lauper's 'Time After Time'. It brings with it, for many listeners, a powerful weight of nostalgic associations and memories, which is one reason it’s the perfect choice for accompanying the mesmerising dance sequence at the end of the 1997 film, Romy and Michele’s High School Reunion, but is there something about the song itself - something which goes beyond the particular personal feelings we might associate with it - which prompts reflection on this integral, yet elusive, aspect of being alive: the role memory plays in shaping our understanding of the passing of time?

The original recording of 'Time After Time' can be heard here. If you're enjoying the series, please leave a review on Apple podcasts; thank you.

With very special thanks to Paul Wierdak, the producer of this episode. 

‘The Secret Life of Songs’ is a new podcast series exploring ten classic pop recordings to get to the heart of why they mean so much to us. Hosted by Anthony T Jackson, a songwriter, it’s intended for musicians and non-musicians alike, a personal, reflective journey through some of pop’s greatest songs. The first three episodes will be released on May 21st, 2020, then fortnightly on Thursdays after that.

The series is intended for anyone who loves music - musicians and non-musicians alike - who might want to hear a bit more about why songs affect us in the way they do. It’s a personal, reflective journey through some of pop’s greatest songs, but it’s also a celebration of the role song plays in our lives, the way that songs find their way into our deepest experiences and help shape our understanding of the world.

Why do we work? The answer might seem obvious; as teenagers the world over have long been told, the world does not owe you a living, but predictions by economists that technological advances would inevitably lead to shorter working hours have not been borne out. We work more than ever, and experience more stress and dissatisfaction with our lives as a result. As Dolly Parton's famous song about the working life, '9 to 5', puts it: 'it's enough to drive you crazy, if you let it'. It was released at a moment when work was changing rapidly: agriculture and manufacturing jobs were collapsing, the number of women in work had risen dramatically, and the power of organised labour was permanently diminished. Parton, a sharper and more subtle songwriter than almost any of her contemporary critics could credit, was able to write a song in the midst of these historic changes which speaks to anyone who's ever watched a clock, longing for the working day to end: 'working 9 to 5, what a way to make a living'. 

All the songs discussed in this episode, including the original recording of '9 to 5' can be heard here. If you've enjoyed it, please leave a review on Apple podcasts; thank you.

With very special thanks to Paul Wierdak, the producer of this episode. 

‘When I was little, I really wanted to be a psychiatrist. That's what I always said at school. I had this idea of helping people, I suppose, but I found the idea of people's inner psychology fascinating, particularly in my teens.’ This is Kate Bush, talking about what she wanted to do before becoming a musician. In this episode I explore whether the trace of ideas from contemporary psychology can be found in the songs she would go on to write and what light it might shine on the meaning of one of her most famous, 'Running Up That Hill (A Deal with God)', in particular her given explanation of its inspiration: 'I was trying to say that, really, a man and a woman can't understand each other because we are a man and a woman'. 

All the songs discussed in this episode, including the original recording of 'Running Up That Hill (A Deal with God)' can be heard here. If you've enjoyed it, please leave a review on Apple podcasts; thank you.

With very special thanks to Paul Wierdak, the producer of this episode. 

The 1970s were a period of intensifying fears about the rapid spread of technological complexity in the wake of environmental catastrophes such as the Three Mile Island accident and the popularity of dystopian sci-fi and 'tech-critical' books which warned that technology was already harming human wellbeing and would soon be out of control. In this context, then, what are we to make of the development of a musical style in the early 1980s known from the very start as Techno? And what of the fact that techno’s most successful song contained an uplifting vision of human flourishing, Inner City’s 1988 single, ‘Good Life’?

All the songs discussed in this episode, including the original recording of 'Good Life' can be heard here. If you've enjoyed it, please leave a review on Apple podcasts; thank you.

With very special thanks to Paul Wierdak, the producer of this episode. 

Has there ever been a pop band which has been as loved - and as hated - as ABBA? Even in the period before they appeared on the Eurovision Song Contest, when they were only well-known in Sweden, there were protests held and satirical songs written about them. In parallel with the long history of critical condemnations of ABBA, however, they have attracted greater love and admiration, from a wider range of listeners, than perhaps any other band of the era. What explains this range of reactions to them and why are they still so popular decades after their late-70s heydey? I break down their early hit, ‘SOS’, among others, to try to answer the surprisingly tricky question of what we’re listening to when we listen to ABBA.

All the songs discussed in this episode, including the original recording of 'SOS' can be heard here. Portishead's version of 'SOS' is not on Spotify but can be found here at the time of writing. If you're enjoying the series, please leave a review on Apple podcasts; thank you.

With very special thanks to Paul Wierdak, the producer of this episode. 

When people first encountered Sly and the Family Stone in their early performances in San Francisco they were often struck by how much they really seemed like a family. They eschewed starriness; no one was put on a pedestal and it was clear that each member was valued and cared for. In a few short years, however, as the 1970s dawned, the band and this idealism seemed to implode. Sly Stone, the band's songwriter, had retreated into his Beverly Hills mansion, making music virtually alone and in the grip of substance addictions. In this context, he made the great song, 'Family Affair', which asks some very fundamental questions: who is our family? What do we owe them? What holds us together when promises are broken and lives fall apart?

All the songs discussed in this episode, including the original recording of 'Family Affair' can be heard here. If you've enjoyed it, please leave a review on Apple podcasts; thank you.

With very special thanks to Paul Wierdak, the producer of this episode. 

When Brian Eno first heard 'I Feel Love' by Donna Summer, produced by Giorgio Moroder in 1977, he declared that he had 'heard the sound of the future'. It was the first pop song to be entirely produced on a synthesiser and quickly came to be seen as an important milestone in the history of record production, pointing the way forward to the dominance of electronic technology in the decades following its release. Equally, it's a song which was immediately embraced by gay clubbing communities; when Sam Smith recorded their cover of it in 2019, they could describe it as a 'queer anthem'. In this episode, the first of a new series focussing on songs from the 1970s and 80s, I ask what it is about 'I Feel Love' which has inspired these responses and what might link these two key strands of its history.

All the songs discussed in this episode, including the original recording of 'I Feel Love' can be heard here. The theme from A Clockwork Orange is not on Spotify but at the time of writing can be found here. If you've enjoyed the episode please leave a review on Apple podcasts. Thank you.

With very special thanks to Paul Wierdak, the producer of this episode. 

The return of the award-winning music analysis podcast, The Secret Life of Songs, is a major event in the worlds of podcasting and pop music writing. Building on the success of the first series, which was awarded Bronze in Best Arts & Culture Podcast at the British Podcast Awards 2021, the ten new episodes explore classic songs from the 1970s and 80s in ways which transform our understanding of popular music and break new ground for the podcast as a medium.

We’ll hear how the fallout from the disappointed hopes of the 1960s was explored in the work of Sly Stone and Joni Mitchell, how the unearthly new sounds unlocked by radical new music technology was used to express both utopian and dystopian impulses by Giorgio Moroder and the originators of Detroit Techno, and how the era’s most divisive cultural concept - postmodernism - was uncannily reflected in the output of the era’s most divisive pop band - ABBA. All of this - and more - will be presented by host Anthony in his inimitable style: deftly weaving fine-grained musical analysis, historical context and philosophical reflection with his own impassioned recreations of the music in question to produce embodied, thoroughly grounded and deeply personal insights into these wonderful songs. 

The first three episodes will be released on Thursday August 20th, 2025, then fortnightly on Thursdays after that. 

Writing candidly about intimate, private moments and feelings is today such an accepted practice in pop songwriting that it can be startling to go back to 1971 and find Joni Mitchell reflecting that, at that point, 'the only thing that I could see to do fresh, that hadn't really been explored poetically, was the internal landscape. … [to] write from my own experience … was one of the few territories left for a poet to be a contributor of any kind'. The album she's talking about is Blue, and if she's right, then it might be viewed as the origin of this tradition of songwriting as 'an investigation of self, self-analysis of sorts', as she put it elsewhere. In this final episode of the series, I look at the penultimate song on this great album, 'A Case of You', in the context of wider shifts in American society, as well as Mitchell's particular musical and philosophical development, to see what's revealed in this bold venture inwards.

All the songs discussed in this episode, including the original recording of 'A Case of You' can be heard here. If you've enjoyed it, please leave a review on Apple podcasts; thank you.

With very special thanks to Paul Wierdak, the producer of this episode.