Can’t believe nobody cited *Peggy Sue Got Married * yet.
John Mellencamp’s Eden is Burning references Jack & Diane.
Each of EPMD’s albums contains a song that forms part of an ongoing story about “Jane” (Called Jane, Jane 2, Jane 3, etc.). Redman continued the narrative on Supaman Lova.
Cigarette and Fred Jones Pt. 2 by Ben Folds Five are both about Fred Jones.
:smack:
Didn’t the Police do “If You Love Something Set It Free” as a sequel to “Every Breath You Take” because they were annoyed that everyone thought the latter as the ultimate stalker tune?
In 1957, the Heartbeats, with lead singer James “Shep” Sheppard, released “You’re A Thousand Miles Away.” It contained the line, “Daddy’s coming home soon.” A few years later, in 1961, Sheppard formed Shep and the Limelites, and answered the original song with “Daddy’s Home.”
Interestingly, “Daddy’s Home” would do better on the charts (No. 2) than “You’re a Thousand Miles Away” (No. 53) but the latter would enjoy a resurgence of popularity in the mid-70s, since it was included in the film American Graffiti, and was on the film’s soundtrack.
I believe Michael Stipe has said that 2001’s The Lifting off Reveal is a sequel to the song Daysleeper from 1998’s Up.
No.
“If You Love Somebody Set Them Free” wasn’t a Police song. It was from Sting’s solo Dream of the Blue Turtles album. Although that album was released not long after the Police broke up, it was hardly a Police project, since (IIRC) they hated each other.
Robin
Actually, there’s more truth to SmC’s claim. Sting wrote both songs, and I seem to recall that he once commented that IYLSSTHF was a response to EBYT - which was presumed to be a romantic love song by much of the record-buying public - there were couples using it as a wedding song, but in truth is a creepy stalker song about surveillance. IYLSSTHF communicates the exact opposite - if you really dig someone, you should leave them the hell alone.
He kind of drove the point home by making fun of the lyrics at the end of the newer song: “Every breath you take/every move you make/Every cake you bake/Every neck you break.”
By that metric you can also link “Every Little Thing She Does Is Magic” to “O My God,” as the latter song repeats the lyric from the former: “Do I have to tell the story/Of a thousand rainy days since we first met/It’s a big enough umbrella/But it’s always me that ends up getting wet.”
One of the biggest issues among the members of The Police was the fact that Sting was more or less operating as a solo artist by 1982. He demoed the songs with full instrumentation and basically had Copeland and Summers perform as session musicians, which especially irked Copeland. He also rejected the idea of performing the other’s songs - an exception was “Miss Gradenko,” which Copeland penned. However, Summers was hurt that Sting wouldn’t sing the lead vocal on his composition “Someone To Talk To,” which ended up as a B-side. Summers thought it could have made it onto the Synchronicity album, had Sting sung it.
Also,though not really a sequal,Felina which tells the story of her life and how she winds up in El Paso and then,
She flirted one night, it started a gun-fight
And after the smoke cleared away, on the floor lay a man
Feleena’s young lover, had shot down another
And he had to leave there, so out through the back door he ran.
The next day at five o’clock, she heard a rifle shot
Quickly she ran to the door, that was facin’ the pass
She saw her cowboy, her wild-ridin’ cowboy
Low in the saddle, her cowboy was ridin’ in fast;
A Damn good song as well. Marty Rocks!..er…Countrys!
Pearl Jam on the album/disc “Vs.”: Daughter
Later that same album: Rearviewmirror:
The Royal Guardsmen followed up "Snoopy vs the Red Baron with “The Return of the Red Baron,” “Snoopy’s Christmas,” and “Snoopy For President.”
This is the sequel to that thread.
These are the lyrics at the end of “Love Is the Seventh Wave”, not “When You Love Somebody”. They may have been a parody of “Every Breath You Take”, but since they flow with the rest of the song, and since the first part of the song does not reference “EBYT”, I think the intent was more to poke fun of “Every Breath You Take”, not to create a true sequel or minimize the impact of the original song.
I could be wrong; after all, we’re not Sting, so we’re basically trying to read more into his music than he may have intended. I’m just saying that, as I interpret this, SMC is off.
Robin
Hank Thompson’s The Wild Side of Life inspired Kitty Wells’ It Wasn’t God Who Made Honky Tonk Angels
Lydia Murdock’s “Superstar (I’m Billie Jean and I’m Mad as Hell)” is a response to Michael Jackson’s “Billie Jean.”
:smack:
You’re right on your first point, so I withdraw that bit. But I do maintain that I recall Sting making the point that yes, IYLSSTF is a response of sorts to EBYT.
One could also argue that “Tomorrow We’ll See” from Sting’s Brand New Day is a response to “Roxanne” from The Police album Outlandos D’Amour. (The former being a prostitute relating her everyday misery in her line of work, and the latter of course a love song to a prostitute.)
We’ll have to call it a draw. Wikipedia says nothing about it, and I can’t find anything in either a Google search nor in All Music Guide. Doesn’t mean you’re wrong and I’m right, just that it’s inconclusive.
Robin