You all know what famous musical this song comes from, don’t you?

   As for Kristin Chenoweth’s version of it, I have only word to describe it, and that is “Wow!”

Out of all the records that Light In The Attic has helped the world discover, none are shrouded in as much mystery as Lewis’ L’Amour. The Lewis journey began when a collector picked up the LP for a dollar at an Edmonton, Alberta flea market. The album’s minimal compositions, somber synth and piano, and ethereal vocals inspired the curious collector to share his unexpected discovery with a fellow vinyl fanatic.

From there, news of the album began to spread online. Light In The Attic became interested in reissuing the record and the search for Lewis began. They reached out to photographer Edward Colver, who was credited with shooting the eye-catching cover image. The man Colver worked with back in the early ’80s was named Randall Wulff. Although he stayed at the Beverly Hills Hotel and drove a white Mercedes convertible, the check he wrote Colver bounced and Lewis quickly became untraceable. With Lewis’ real name as their best lead, Light In The Attic searched for a few more years before deciding to reissue the record and place the proceeds in an escrow account until Lewis surfaced. Lewis eventually turned up, turned down the money, and answered interview questions as vaguely as possible. He may have gained quite a few new fans, but the mystery of Lewis lives on.

   Song from the end credits of Brian De Palma’s The Phantom of the Paradise:

This one caught my attention the first time I heard it on the radio. It’s even better live. (Even if it’s lip-synced, as it probably was, since the video is from Dick Clark’s American Bandstand.)

   From this website:

   A pairing one might not imagine is Nils Lofgren and the late author Clive Cussler on Whatever Happened To Muscatel. Nils remembers “My dear, departed friend Clive Cussler, one of the all-time great adventure writers, asked me to write this country song with him. It was a joy to research the lyrics with him of old, rotgut liquors gone by the wayside, in his historic writing room in AZ. A great honor and creative adventure to team up with Clive. Rest in Peace dear, brilliant friend.”
   

   This live performance by Metallica is a cover of The Misfits’s “Die Die My Darling” which is, itself, the American release name for the Hammer thriller, Fanatic from 1965.

   Faster Pussycat is an American rock band from Los Angeles, California, formed in 1985 by vocalist Taime Downe, guitarists Brent Muscat and Greg Steele and bassist Kelly Nickels. The group has since gone through numerous line-up changes leaving Downe as the only constant member. They broke up in 1993, but reformed in 2001. […] They were a successful and influential hard rock band during the late 1980s and early 1990s, having sold over two million records worldwide.     [From Wikipedia.]

I’m not really too sure ’bout this conversation
There’s been a lot of talk but nothing said
And don’t you understand my French
What do I have to do to make a reservation
Just to talk to you and explain
That all you ever do is complain

I got no, I got no room for emotion, yeah
It’s like a cloud drippin radiation right on my head
I got no, I got no room for emotion
Now I’m tryin to make the best out of a bad situation
You take my heart, flush it down the drain
I’m easy baby, it’s such a shame
Now I’ve had it up to here with all your aggravation
That you put on me, such a crime
Baby, you’re just wastin my time

I got no, I got no room for emotion, yeah
It’s like a cloud drippin radiation right on my head
I got no, I got no room for emotion

   I’ve heard this song sung many times before, but never as powerfully or beautifully as this: