The Saga Continues: When Songs Just Can’t Let Go (and Neither Can We)
Sometimes one song just isn’t enough. Some stories are too big for a single song. A compelling character. A haunting image. An unresolved emotion lingers. We would like a second chapter.
Thankfully - a few musical storytellers often feel the same pull. They gift us with sequels.
They gave us the sequel. Not the direct-to-video, disappointing kind. These are expansions that deepen the narrative. Shift the perspective. Or just simply let us live a little longer in a world we’ve come to love.
These are more than follow-ups. These songs continue the story, often featuring the same characters or plotline. They are explorations. Let’s dive into the art of the song sequel and ask the question these artists dared to answer: “What happens next?”
The Nightmare After the Dream: Coheed and Cambria’s Sequel to “Jesse’s Girl”
For nearly four decades - Rick Springfield’s “Jesse’s Girl” was the definitive pop-rock anthem of unrequited yearning. It was a song about wanting the one thing you couldn’t have. End of the story? I think not.
Enter Coheed and Cambria. They performed one of the most brilliant and unexpected musical crossovers of the decade: a direct, authorized, and deeply witty sequel titled “Jessie’s Girl 2 (feat. Rick Springfield).”
The Concept: Getting the Girl... and Regretting It
In Coheed and Cambria’s version - the narrator actually got the girl after all these years. The dream comes true. Until he realizes his friend Jesse was a genius for letting her go. The once-coveted “Jessie’s Girl” is now revealed to be a nightmare. Destructive and possibly homicidal “monster”.
As Coheed and Cambria frontman Claudio Sanchez explained the concept, it’s: A National Lampoon’s movie meets So I Married an Axe Murderer.
Added bonus - Tommy Tutone’s phone number (song) is included too: 867-5305
The Ultimate Collaboration
The brilliance of the sequel is that it’s an authentic collaboration, not just a tribute. Rick Springfield himself embraced the dark comedy. He provided guest vocals on the track and starred in the accompanying music video.
“Jessie’s Girl 2” a sequel that is both hilarious fan-fiction and a surprisingly poignant commentary on the danger of idealizing the things you can’t have. It’s the ultimate lesson in “be careful what you wish for.”
Plus Jimmy Kimmel gave us this brilliant skit
I couldn’t think of any other artists that made a sequel to other artist songs…I’m sure someone will help me out in the comments. Please and thank you. So on to the few I could think of. Thanks again for reading/listening to me. Appreciated greatly.
The Odyssey of Major Tom: David Bowie’s Cosmic Chronicler
Few characters have captivated the musical imagination quite like David Bowie’s Major Tom. A lonely astronaut lost in the vastness of space - his journey became a metaphor for isolation, existentialism, and the search for meaning.
It all began with “Space Oddity” (1969). A track famously timed with the Apollo 11 moon landing. Bowie introduced us to Major Tom, floating in a “tin can far above the world”. His communication breaking down. It was both a celebration of space travel and a chilling exploration of its psychological toll. As Bowie once said of the character,: He’s not a hero. He’s a victim.
I love how they separated the countdown etc on the speakers. Yay panning.
Tom returned a decade later. But not as we knew him. “Ashes to Ashes” - Major Tom is a “junkie, strung out in heaven’s high.” A more grounded and tragic figure. Reflecting Bowie’s own struggles and his disillusionment with the romanticized version of his past.
He described the song as a: nursery rhyme for the Eighties. There’s a lot of things about “Ashes To Ashes” that are about my own past. The Major Tom character is being used as a symbol for that.
Then (maybe) a surprising turn? Major Tom’s spirit seemed to re-emerge in the industrial throb of “Hallo Spaceboy”. While not named - the themes of cosmic detachment and alienation are palpable. It felt like a frantic, desperate call across the void, a modern echo of Tom’s original plight.
Also another playful use of panning.
Then: The additional verse introduced on lyric by Pet Shop Boys, using fragments from Bowie’s song “Space Oddity” and makes the connection quite clear. They also “dance it up a wee bit”. Which version do you like better?
Finally - many interpret Bowie’s swansong: “Blackstar” as Major Tom’s ultimate, deeply poignant farewell. Released just two days before Bowie’s death. The lyrics and visuals are saturated with themes of mortality, transcendence, and a final journey. Was Tom’s last voyage truly Bowie’s own?
Metallica’s Unforgiving Cycle: The Weight of Expectations
Metallica - synonymous with raw power and intricate thrash, ventured into more melodic and narrative territory with their “Unforgiven” trilogy. Exploring themes of judgment, defiance, and the burden of societal expectations.
“The Unforgiven” from The Black Album. Introduced a character born into a world of judgment. It’s a powerful ballad with a heavy core, lamenting a life unlived.
James Hetfield explained the song’s genesis: We wanted to try a ballad that was a little different... it’s about the kid that’s oppressed and how he tries to break out of it.
Six years later - “The Unforgiven II” from Reload. They continued the narrative. With a twist. The character is older, perhaps wiser, but still struggling with the scars of the past. Now seeing those same judgmental patterns in himself. Questioning whether the unforgiven can ever truly forgive themselves.
Lars Ulrich noted: The first song was about the life of someone who felt unforgiven. This is more about the internal struggle.
The trilogy concluded with “The Unforgiven III”. The character confronts the cycle directly - questioning the nature of forgiveness itself. Is it given by others? Or must it be found within?
The Unforgiven - Can’t forgive the world
The Unforgiven II - Can’t forgive you.
The Unforgiven III - Can’t forgive myself.
Maybe?
Marty Robbins’ El Paso Saga: Love, Law, and the Lonesome West
A dramatic tale of forbidden love, flight, and fateful returns, all set against the rugged backdrop of the Old West in a song called “El Paso” (1959).
A cowboy falls in love with the beautiful saloon dancer Feleena. Kills a rival in a jealous rage. And flees. Ahhh but the pull of love is stronger than the fear of death. Leading to a tragic return.
Robbins was a master storyteller.
Seven years later! Romero and Juliet in 8 minutes. Robbins delivered the prequel/sequel with “Feleena (From El Paso)” (1966). This epic tells Feleena’s backstory. Explaining her life in the saloon. Providing her perspective on the doomed romance. And filling in the blanks of the original tale. It humanized the enigmatic dancer. There was more to her than met the eye.
What a twist! Holy balls. This is genius. He writes a song about his previous song El Paso. 16 years later through the eyes of someone who was flying over El Paso. Slowly realizing that he is the reincarnation of the protagonist of the original song being called back to El Paso. Time to meet his fate once again!!! Mind blown. Much respect for this man’s song writing capabilities. It’s a meta-narrative! Reflecting on the enduring power of his own creation. What? Well played.
Lesley Gore’s Teenage Heartbreak: The “It’s My Party” Duology
Before Taylor Swift mastered the art of the relatable breakup anthem, Lesley Gore cornered the market on teenage angst with her iconic two-part drama of party woes.
First came the timeless hit “It’s My Party” (1963). Celebrating her birthday but her boyfriend Johnny leaves with the conniving Judy. Reducing the party girl to tears. Quintessential teen pop. Capturing the devastation of the first heartbreak.
Gore herself reflected: I cried all the way home because Johnny left with Judy, which is very dramatic for a 16-year-old.
No wasting time - Gore released the direct sequel “Judy’s Turn to Cry” (1963). This song picks up immediately where “It’s My Party” left off. She got her revenge. Teenage drama - like love - can be a battlefield.
I feel like a Johnny song should have happened. Maybe Coheed and Cambria could make more sequel magic?
Pink Floyd’s “The Wall”: A Trio of Bricks in the Mind
The Wall (1979) uses the metaphor of a wall to explore themes of alienation, trauma, and societal control. “Another Brick in the Wall” is one it’s main sequences. The structural backbone of this concept.
“Another Brick in the Wall, Part 1” sets the scene. The death of his father in the war – as the first “brick” in his psychological wall. It’s a somber, almost whispered beginning.
“Another Brick in the Wall, Part 2” is the iconic, hit single. “We don’t need no education.” An anthem for disaffected youth. Symbolizing (it’s everywhere in The Wall) how institutions contribute to building the wall.
Roger Waters: The song is against mind control... against the notion that people don’t want to think for themselves.
Final brick in Pink’s wall. “Another Brick in the Wall, Part 3” shifts the focus to the painful collapse of relationships and the emotional detachment that arises from repeated hurts. It’s stark. An angrier piece. Telling us how personal betrayals and heartbreaks add the final, sealing bricks to the wall. Pink is completely isolated.
The Unending Story
What do you think of these musical sagas? From cosmic voyages to classroom rebellions. A powerful reminder that stories are rarely truly finished. They evolve. They resonate. And they adapt to the passage of time and the shifting perspectives of their creators (sometimes). What begins as a simple character in a song can grow into a multifaceted legend. Giving us a reflection not only of the artist’s journey but our own. If we’re lucky.
Perhaps the deepest lesson here is that art, much like life itself, is a continuous draft. Damn Bro it’s Friday. Just play the music, man.
Each moment. Each feeling. Each encounter adds another “chapter” or “part” to our personal story. And just as these musicians found new depths in revisiting their creations, we too can find profound meaning in reflecting on our own pasts. May we understand how each “brick” and each “unforgiven” moment has shaped the person we are today. The story, after all, keeps going, long after the final note fades.
Thank you for reading/listening. Have a brilliant day!
Thank you for listening to new music. If you like something, share it with a friend or leave a commen. Or don’t
Hello and welcome to NEXT! As the legendary Patti Smith once said: Rock and roll is a combination of good ideas and the necessity to have a good time.
That’s exactly what we’re here for. This is your weekly dose of good ideas and great times. All in the form of new music. Let’s find your next favorite song.
Fanclubwallet - Know You Anymore. Kicking things off with a dose of perfectly bittersweet indie pop. This one’s all about that moment a friendship changes, wrapped in a seriously catchy synth line.
Ratboys - Anywhere. We’ve got some great news for indie rock fans today. The cherished Chicago band Ratboys have just announced a new album, and they’re sharing the first single: “Anywhere.” It’s a driving, energetic track with a hilarious and relatable origin: it was inspired by the guitarist’s clingy, anxiously attached dog who just wants to be... well, anywhere you are. PS: Dogs Rock. Dogs are the best!
GUV - Let Your Hands Go. Time to get moving! This is a funky, disco-infused banger that commands you to the dance floor. Let your hands go, indeed.
It’s Karma It’s Cool - 21st Century Meds. A sharp, witty take on modern life, delivered with jangling guitars and a melody that sticks. It’s power-pop for the anxious age.
Brad Marino - C’mon C’mon C’mon (Alternate Version). A straight-up, no-frills rock and roll ripper. This is all crashing chords and infectious energy that would feel right at home on a classic rock station. Can be found on “On The Brick: rarities, remixes, and unreleased”
Veltpunch - Liar. Switching gears to some shimmering, 90s-inspired alt-rock. This one builds from a quiet tension into a massive, cathartic chorus.
Brian Dunne - Rockland County. Storytelling songwriting done right. Brian Dunne paints a vivid, character-driven portrait that feels both personal and universal.
Echolalia - Little Bird. A delicate and beautiful folk-pop duet. The harmonies on this are just stunning, like a conversation between two old souls.
The 456 - Ground. Next up, a powerful collaboration that spans a continent and a wealth of experience. It’s THE 456, the duo of NYC Grammy-nominee David Wolfert and Canadian songwriter Natasha Alexandra. They blend indie folk with raw, personal vulnerability. Sometimes the most powerful connections are forged across great distances. A duo with 456 miles between their studios. He’s a Grammy-nominated writer for legends like Whitney Houston; she’s a fiercely honest Canadian songwriter. Together, they create indie folk that finds hope after heartbreak. Here is “Ground.”
Business School - Canada. An ironic, lo-fi indie gem that’s both clever and incredibly catchy. It’s the sound of overthinking set to a killer melody.
FLEECE - How Far Would You Go. A smooth, funky, and effortlessly cool track. It’s got a slinky bassline and a vibe that just makes you nod your head. I got this band from a beertender at Weird Window Brewing. Just outside of Burlington VT and worth the quick ride. Great beers.
Jay Som - What You Need. The dreamy, bedroom-pop project of Melina Duterte. This is a warm, textured, and beautifully layered piece of indie rock.
Lucinda Williams featuring Brittney Spencer - The World’s Gone Wrong. A blues-soaked, rootsy powerhouse. Two incredible voices join forces to tackle a classic, finding defiance in the darkness.
Howl Owl Howl - My Cologne. Old fashion rock and/or roll. Immediate and full of swagger. R.E.M.’s Mike Mills, The Black Crowes’ Steve Gorman, and former Hootie and the Blowfish frontman Darius Rucker
The Heavy Heavy - Go Down The River (Live). We’ll send you off with a dose of pure, sun-drenched psychedelic folk, recorded live. This sounds like it was beamed directly from 1969. Live music is good for your soul.
And that’s it. No more time for this week’s NEXT! A huge thank you for spending your time with me and for listening to new music. You are the reason this show exists. Keep supporting the artists you love. I’ll be back next week with a fresh batch of tracks. Until then - Take it easy and remember if you love someone hug them right now.
MATTER OF TIME is not your typical documentary. It chronicles the all-out war against Epidermolysis Bullosa (EB). A rare genetic disease as devastating as its name is complex.
This isn’t a story of despair. It’s a story of defiance. Set to the raw, roaring soundtrack of Eddie Vedder’s 2023 Seattle solo performances.
Forget a simple concert film. This is a front-row seat to a rising global movement - where the fierce determination of patients, families, and scientists is the real headliner. They operate on a powerful belief: that curing EB isn’t a question of if, but a matter of time. As one researcher in the film says: Rare diseases are not unsolvable puzzles; they are simply puzzles that haven’t had enough minds working on them.
This is a visceral, urgent, and ultimately hopeful rallying cry for what happens when people come together for something bigger than themselves.
Produced by Door Knocker Media in partnership with the Vitalogy Foundation.
Thank you for reading/listening.
Music is Life. Music is Magic. Live Music Is Good For Your Soul.
And remember if you love someone hug them right now.
Chris, I'm going to miss out seeing Matter of Time in the theaters, but hope somehow I can either stream or buy a copy through the Ten Club. How was it?
Quite an extensive overview, Chris! Nicely done! I enjoyed the Springfield bits.....he seems like he'd have a casual, no-big-deal about things such as this! That Kimmel skit had a date of 12/80, which is very accurate (of course, you had Rick there to verify)!
"Working Class Dog" and its "Jessie's Girl" was released in Feb. '81, and Rick came into the Music Plus Records & Tapes in Glendale, CA (he lived in that L.A. suburb), likely, sometime in January of that year. I know because I was working the register! He must've been on his way home after a mixing session or something. With his "General Hospital" turn looming, also, this may have been one of the last times, for a while, he'd be able to safely and quietly venture out in public! When Rick got that TV daytime soap gig, RCA had no idea he had gotten it! In fact, Rick's manager advised Rick to take the "GH" gig when he was offered the part, as "that record thing with RCA probably won't work out" (only because Rick and his mgr didn't sense the label was too enthused about it, and likely wouldn't lift much of a finger to promote it)!
Anyway, Rick was perusing cassettes in the case next to my register, and having had 3 of his '70s albums (one for Capitol in about '72, one for Columbia around '74, and my favorite, "Wait For Night" for Chelsea Records in '78-ish, I asked him (in a bit of a twist of the usual line): "Has anyone ever told you you look like Rick Springfield?" Which must have surprised him, as a few weeks before his TV gig beginning and his record dropping, few would really recognize him!! That would rapidly change!
Good stuff, Chris.....have you ever delved into "answer" songs? Like Neil Sedaka's early-'60s "Oh, Carole," and Carole King recording her answer, "Oh, Neil"? There are others, too!